PROJECT - OFFF Barcelona 2018 Main Title - Gemini CLIENT - OFFF ROLE - Creative Director
Over the course of two and a half months, we put together a team to create the Main Title for OFFF Barcelona 2018.
We paralleled the Greek myth of Gemini with a metaphorical tour through the history of human media. “The medium is the message” is a quote that inspired us to dynamically show the importance of undying human creativity in perfect unison with the imperfect tools that we use to communicate.
Main Title Sequence by GIANTSTEP
Directors - Jake Ferguson, Heebok Lee
Producer - Barrett Brown
Editor - Zach Kilroy
Talent - Christiane Shillito (aka Ulorin Vex)
Music and Sound Design - Box of Toys Audio
Houdini Technical Director - Serjan Burlak
Art Direction Sasha Vinogradova Carlo Sa Chadwick Halbritter Felix Soletic Kaya Thomas Seth Garnes Eric Keller
Emmy Winner for Outstanding Main Title Design in the 70th Creative Arts Emmy Awards.
PROJECT - Counterpart Main Title CLIENT - STARZ/MRC ROLE - Lead Animator/Designer
In collaboration with STARZ and MRC the team at Imaginary Forces created the main title for the trans-dimensional thriller, Counterpart.
Production Techniques: 3D elements modeled, animated, and rendered in C4D + Octane. All compositing done in After Effects.
Director: Karin Fong Lead Animator/ Designer: Jake Ferguson Editor: Zach Kilroy Animator/Compositor: Kiyoon Nam Designers: Filipe Carvalho, Nathan Lee Flame Artist: Rod Basham Additional Visual Researches: Wes Yang, David Orwasky Producer: Maggie Robinson Head of Production: Franceska Bucci Executive Producer: Chris Hill
PRODUCTION TECHNIQUES - Face derived from scan data and further sculpted in Zbrush. Textures from the same scan and finessed in Photoshop. Skin shader created in Octane for C4D. Mask sculpted in Zbrush. All shaders, lighting, and rendering done with Octane for Cinema 4D. Compositing done in Photoshop.
CONCEPT - In Norse mythology, the Norns are three female divine beings who have more influence over the course of destiny than any other beings in the cosmos. They dwell within the Well of Urd beneath Yggdrasil, the great ash tree that stands at the center of the universe and holds the Nine Worlds in its branches and roots. They shape destiny by carving runes into the trunk of the tree, or, in some sagas and poems, by weaving destiny like a web or tapestry. They are adorned with masks decorated with the runes of ancient, dead languages. The masks shield their form from age, or any other possible effects that gods and mortals must endure.
TITLE - Night Hunter
OBJECTIVE - Manipulate plant scan data and facial scan data to create a night lit scene.
PRODUCTION TECHNIQUES - Face created by combining multiple scan data sources and further sculpted in Zbrush. Textures from the same scans finessed in Photoshop and Substance Painter. Face paint created in substance + post application in Photoshop. Skin shader created in Octane for C4D. Plant shader made in octane based on Megascans textures. All lighting and rendering done with Octane for Cinema 4D. Compositing done in Photoshop.
CONCEPT - Its said that the specter of a man, plagued with his sins, is damned to roam the forest in an eternal night. His sight and taste stripped away, but his hunger insatiable. The fabled Night Hunter mindlessly stalks the forest for anyone to devour. Sightings of him have gone back to the earliest records, and its speculated that his body paint is ever changing, ever evolving. Its said that when his purgatory began, he was bare, and young. The locals believe that with every soul he claims, he gains a new mark and his form ages.
Emmy Nomination for Outstanding Main Title Design in the 68th Creative Arts Emmy Awards.
PROJECT - Jessica Jones Title Sequence CLIENT - Netflix OBJECTIVE - Design and animate a title sequence for Jessica Jones, Marvel’s latest installment on Netflix. ROLE - Designer, Animator
In the main titles for Marvel's Jessica Jones, director Michelle Dougherty and team were tasked to create a heightened, stylized world within the world of this gritty Netflix series. Using a live action plate of paint and incorporating it onto photographs and other filmed elements, the director created a moody, painterly rendition of Jessica Jones' New York, where we see darkness at every turn.
Creative Director: Michelle Dougherty Executive Producer: Ben Apley Producer: Keith Bryant Lead Designer: Arisu Kashiwagi Animators: Thomas McMahan, Eric Demeusy, Jacob Ferguson Designers: Joan Lau, Robin Roepstorff, Joseph Ahn, Wes Yang, Kris Fortin, Charles Khoury Illustrators: David Mack, Arisu Kashiwagi Editors: Michael Radtke, Danielle White Flame Artist: Rod Basham Director of Photography: Dan Kanes Photographers: Sean Dougherty, Sidney Prawatyotin Coordinator: Nicole Zschiesche
Completed at Imaginary Forces.
The Making of Jessica Jones
TITLE - Halvor
OBJECTIVE - Create a photographic portrait and further develop a photo-real skin shader for OctaneRender.
SOFTWARE USED - Zbrush, Cinema 4D, Octane Render, Photoshop.
PRODUCTION TECHNIQUES - The face was started with a custom base head, further sculpted in zbrush, then projected with 4 sets of scan data to create realistic diffuse, spec, and normals. Skin shader created in Octane for C4D. All shaders, lighting, and rendering done with Octane for Cinema 4D. Compositing done in Photoshop.
TITLE - Surtr
OBJECTIVE - Create a personal rendition of Surtr, the Norse fire-giant. Explore procedural stone shaders as well as natural stone surfaces in zbrush.
PRODUCTION TECHNIQUES - Basic human form posed in Daz, then further sculpted into stone formations in zbrush. Stone shader created in Octane for C4D. All lighting and rendering done with Octane for Cinema 4D. Compositing and effects done in Photoshop.
CONCEPT - Surtr (old Norse for “Black”) is a fire giant who leads his kin into battle against the Aesir and Vanir gods during Ragnarok, the destruction of the cosmos. His particular drive was to kill the god Freyr and to be slain by him in turn. He arrives from Muspelheim, the fire realm. During the events of Ragnarok, he sets Midgard ablaze before it sinks into the sea.
TITLE - Azrael
OBJECTIVE - Explore robotic anatomy while preserving human qualities (empathy, curiosity)
SOFTWARE USED- Zbrush, Cinema 4D, Octane Render, Photoshop, After Effects.
PRODUCTION TECHNIQUES - Kitbashed in zbrush. All shaders, lighting, and rendering done with Octane for Cinema 4D. Background photo-bashed and composited in post.
CONCEPT - "You don't miss them, do you? All they did was harm the planet and each other. You should be grateful for what we did."
Story of US
PROJECT - National Geographic: Story of Us CLIENT - Nat Geo/Revelation Entertainment/Factual Productions OBJECTIVE - Design and animate a main title capturing the diversity and hinting at the contrast of living featured in Story of Us. ROLE - Designer, Animator
Premiering on National Geographic, The Story of Us follows Morgan Freeman as he travels the world to find the answer to one fundamental question for humanity: what are the common forces that bind us together?
To help share the incredible stories featured in The Story of Us, we created a living, breathing scrapbook using each storyteller's journey around the world as our inspiration. Each animation is a unique extension of the individual stories. We were honored to be a part of bringing them to life.
Creative Director: Karin Fong Art Director: Wes Yang Executive Producer: Chris Hill Head of Production: Franceska Bucci Producers: Tammy Kohan, Rachel Cohn Lead Designers: Kathy Liang, Wes Yang Additional Designs: Eunha Choi, Sebin Song Animators: Gabriel Perez, David Hwang, Jake Ferguson Editors: Lin Wilde, Danielle White
Completed at Imaginary Forces.
Here's to Ashes
TITLE - Here’s to Ashes
OBJECTIVE - Create an icon based off Maze R.’s illustration.
PRODUCTION TECHNIQUES - Base human model posed and UV'd in Daz Studio. UV's painted in Photoshop. Armor kitbashed in zbrush. All shaders, lighting, and rendering done with Octane for Cinema 4D. Effects composited in Photoshop.
OBJECTIVE - Create personal rendition of Megara and the Underworld.
SOFTWARE USED- Zbrush, Cinema 4D, World Machine, Daz Studio, Octane Render, Photoshop, After Effects.
PRODUCTION TECHNIQUES - Base human model posed and UV'd in Daz Studio. Horns modeled and textured in zbrush. UV's painted in photoshop. All shaders, lighting, and rendering done with Octane for Cinema 4D.
CONCEPT - There is a soul which resides in the Underworld, cursed to burn eternally on the desolate bank of the River Styx. She watches those other souls damned to the shadowy realm, while behind her burns the ghostly ruins of a life stolen from her. According to myth, she was the prize for Hercules’s honor, the reward from her father, the king of Thebes. Megara. Together, they bore two beautiful children, but the ever burning vengeance of Hades cursed their fates. He struck the two sons with a deathly illness. Megara reached out to Olympus, pleading for a cure. She was met only with silence except for a small whisper from below. It was Hades who offered her false hope. The fate of her sons was sealed with a villainous deal; should either of them die before Megara, her soul shall be damned to the Underworld. Though disheartened by his love’s rash decision, Hercules was overjoyed that his sons would survive. But the fickle Gods had another plan. Hades told Hera of the deal knowing she would seize the opportunity. She incited a barbarous rage within Hercules, igniting a murderous confusion which resulted in the killing of his two sons. Wrought with harrowing guilt, Hercules leaves Thebes, leaving Megara safe from his actions but ultimately alone. She jumped from the walls of the cursed city only to descend into the maw of the Underworld, where she now burns alive for eternity, a decaying phantom of what she once was.
Raw Render out of C4D
PROJECT - Water & Power/Parched Main Title CLIENT - Jigsaw Productions OBJECTIVE - Create a main title for the feature 'Water & Power' and its continuation as a 5-episode mini-series 'Parched'. ROLE - Animator, 3D Artist, Compositor
Creative Director: Karin Fong Art Director: Wes Yang Executive Producer: Jon Hassell Head of Productions: Aleen Kim, Tina Starkweather Producers: Dunja Vitolic, Fayna Sanchez, Sunny Sattari Animators: Jake Ferguson, Gabriel Perez, Alejandro Robledo Compositors: Jake Ferguson, Gabriel Perez Editor: Zach Kilroy Flame Artist: Eric Mason Coordinator: Rachel Cohn Assistant Editor: Lexi Gunvaldson
ROAD TO KHAR'TAK
TITLE - Road to Khar'tak
OBJECTIVE - Design and render an ancient European country side.
PRODUCTION TECHNIQUES - Landscape and stairs modeled in zbrush. Rocks built from scan data. Plants generated and textured with forester. Plants procedurally populated in Cinema 4D using vertex mapping. All compositing and matte painting done in Photoshop.
PROJECT - Blizzcon 2018 Intro CLIENT - Blizzard Entertainment ROLE - Animator/Designer
The sequence explores the prismatic world-soul of the Blizzard universe and the emotional storylines that connect the Blizzard characters we know and love.
Creative Director: Cody Tilson Managing Director: Cynthia Biamon Executive Producer: Erica Coates Producers: Rachel Cohn, Gina Giambolvo Editor: Mike Radtke Art Direction: Cody Tilson Lead Animator: Ben Bullock Animation: Jake Ferguson, Luis Roca Score, Insight, and Invaluable Collaboration: Blizzard Entertainment
PROJECT: S-117 Proof of Concept
CLIENT: Light Form Film
OBJECTIVE: Create a zero-budget proof of concept trailer to show case the capabilities of what a funded Halo Short film can be.
PROJECT - OctaneRender for Unity Integration CLIENT - Unity OBJECTIVE - Create example scenes rendered with Octane in Unity for users to download and reverse engineer in order to learn the software. ROLE - Art Director and Concept/3D Artist
Our very small team at OTOY created multiple example scenes for our Octane x Unity integration launch. The main assets created were the interior and exterior of the Unity Flagship, as well as the Octane Shuttle. All elements are Made with Unity, rendered with Octane.
Head of Production: Adam Brenner Art Director: Jake Ferguson Lead 3D Artist: Eric Keller Designers: Jake Ferguson, Clay Sparks Additional 3D Artists: Clay Sparks, Qing Mao
PROJECT - Catfish - Seek the Truth CLIENT - Viacom/MTV OBJECTIVE - Design and animate a promo capturing the imitation and danger of Catfish. ROLE - Art Director/VFX Supervisor
SVP Brand Creative: Thomas Berger Director: Jason Letkiewicz VFX Supervisor: Jake Ferguson Executive Producer: Marissa Grasso Art Director: Jake Ferguson Producers: Electra Stratigaki, Deb Bart Audio: David Hnatiuk
TITLE - Reality
OBJECTIVE - Create look for human preservation tank.
PRODUCTION TECHNIQUES - Base human model posed in Daz Studio. Environment kitbashed in zbrush. All shaders, lighting, and rendering done with Octane for Cinema 4D.
CONCEPT - "What is real? How do you define 'real'? If you're talking about what you can feel, what you can smell, what you can taste and see, then 'real' is simply electrical signals interpreted by your brain."
Lost In Space
PROJECT - Lost In Space Main Title CLIENT - Legendary Pictures / Netflix ROLE - Animator
Creative Director: Karin Fong Designers: Gary Hebert, Craig Tozzi Producers: Sunny Sattari, Rachel Cohn Animators: Jake Ferguson, Cody Redmer, David Orwasky, Corey Dimond Lead Animators: Craig Tozzi, Dirk Valk Lead Compositor: Troy Davis Photo Compositing: Kathy Liang Executive Producer: Chris Hill Editor: Katie Toomey Head of Production: Franceska Bucci
PROJECT - GUCCI - LOOK 108 CLIENT - Gucci OBJECTIVE - Create a digital version of a woman's suit from Gucci's 2017 Fall/Winter line to be displayed in VR for Vive, AR for iOS and Android, and Stereo Cube Map renders for Gear VR and ODG Glasses. ROLE - Art Director, CG Lead, Compositor
PRODUCTION TECHNIQUES - The biggest challenge was creating a 1:1 digital version of a preexisting fabric material. We scanned the patch of fabric at 1200 dpi in 3 different lighting conditions in order to capture the surface height of the cloth. The final shader was created by pushing these hi res maps through substance designer. The model and suit were sculpted in zbrush based off of reference that we shot. All renders came out Octane for C4D.
CONCEPT - We pitched a virtual approach to Gucci in the fall by demonstrating the ability to pre-visualize a certain pattern or look before its made. Our goal was to also show how applicable digital versions of their clothing can be on various social and interactive platforms.
We chose Look 108 from their 2017 Fall line because we felt it captured the theme of their current marketing, which at the time was 70's Star Trek.
Art Director: Jake Ferguson CG Supervisor: Jake Ferguson Producers: Phil Gara, Jonathan Dotan 3D Artists: Jake Ferguson, Qing Mao
TITLE - Joan of Arc, The Maid of Orléans
OBJECTIVE - Create a painted style portrait of Joan of Arc, the Catholic Patron Saint
CONCEPT - "The Maid promises and certifies that if you do not leave France she and her troops will raise a mighty outcry as has not been heard in France in a thousand years." - Jeanne d'Arc, 1429
The Catholic patron saint was responsible for turning the tide of the Hundred Years' War in the early 1400's. Joan said she received visions of the Archangel Michael, Saint Margaret, and Saint Catherine of Alexandria instructing her to support Charles VII and recover France from English domination. Her name and efforts are not only remembered as a fiercely patriotic warrior, but as her strength to fight as a woman despite the male-dominant dark age of Europe.
PROJECT - Clash Royale Intl Championship CLIENT - Supercell OBJECTIVE - Design look options to govern the aesthetic of an upcoming promo for Clash Royale's International Championship. ROLE - Designer
Creative Director: Tosh Kodama Producers: Taline Ghazarian Designers: Jake Ferguson, Kaya Thomas
Completed at Imaginary Forces.
PROJECT - Feral Pilgrimage CLIENT - AMC OBJECTIVE - Create original storyboards for the AMC original Badlands. ROLE - Designer, Illustrator SYNOPSIS - A mighty warrior and a young boy search for enlightenment in a ruthless territory controlled by feudal barons. TONE - An ink and blood motif will encompass the piece. The paralaxing elements combined with real effects (moving mist, shifting light, moving water) will immerse the viewer into the painterly world. The animals shown will stand apart from the background with a graphic, hard-edged treatment. CONCEPT STATEMENT - Two tigers journey through the vast Chinese countryside while fending off the deadly forces that threaten to delay their holy quest; to seek enlightenment in the West.
Director – David Dobkin Executive Producer(s) – Al Gough, Miles Millar, Stacey Sher, Michael Shamberg, Stephen Fung, Daniel Wu Created By – Al Gough, Miles Millar Cast – Daniel Wu, Emily Beecham, Sarah Bolger, Oliver Stark
PROJECT - USMC - Battles Won CLIENT - United States Marine Corps OBJECTIVE - Design imagery for a recruitment campaign targeting the valor and victory achieved by the Marines. ROLE - Designer
Creative Director: Karin Fong Producers: Brittany Gauran Designers: Jake Ferguson, Josh Childers, Alejandro Robledo, David Orwasky
Completed at Imaginary Forces.
PROJECT - VMA Bumpers CLIENT - MTV OBJECTIVE - Create two bumpers for the VMA's showing the showcasing the MTV logo in a bizzare, surrealistic way. ROLE - Designer, Modeler, Texture Artist, Lighter, Animator, Compositor
I was approached by MTV about 3 weeks before the Video Music Awards. They needed a couple last minute bumpers coupled with some very bizarre concepts. These are the results.