VARIOUS

TURNER CLASSIC MOVIES

I was asked by commercial studio xo/Exopolis to help out in a rebranding for Turner Classic Movies. They were needing a new bumper that reflected the film noir mood that the studio specialized in curating. They specifically asked me to produce textures for a 3D environment that was reminiscent of the work of American painter Edward Hopper (a personal favorite of mine).

Exopolis sent me unwrapped 3D model geometry and I used a mixture of digital painting software ArtRage and Adobe Photoshop to create a dirty and tangible-looking oil texture, that was then reapplied to the 3D models by the studio and animated.

© Turner Classic Movies

TOYOTA TACOMA “NESSIE”

I was approached by Method’s commercial producer to provide a very quick turn-around on a Loch Ness monster design to show the director who was already filming on location in Scotland. This still remains one of my favorite spots to have contributed to because commercials during this period were highly inventive and entertaining micro films.

© Method Studios

UNIQUE

David Dozoretz had me join the pre-production team where we spent several months helping to develop previz animation pitch material for an original film with writer/director David S. Goyer for The Walt Disney Company.

© Disney

zafari

This was a project I worked on back in 2002 with David Dozoretz. He was freshly minted from the Star Wars Prequels and wanted to get an IP of his own going. I was new in the industry and at the recommendation from his Star Wars art department friend, Iain McCaig, David hired me to develop some storyboards and visual development pieces for the initial studio pitch.

I initially produced a series of storyboards (below) that served as a “test” from David before I moved into keyframe illustrations for specific scenes from the animated feature film (as it was planned at the time). It was also a stretch, creatively, because realistic animals were not necessarily my strength. The style ultimately shifted as seen in the above poster, nevertheless it was a welcome growth opportunity.

David finally brought his project to light using the real-time Unreal Engine (the first to do so on a commercial production). Click here to learn more about the process.

Keyframe art coming soon.

www.zafari.com

verizon

I was asked to explore some new design aesthetics for the Verizon “eye” that would be an automated feature of the new line of Android phones. It was a great opportunity to dust off my product design technique.

It was seen briefly by Verizon sponsorship in tv show Marvel’s Agents of SHIELD.