Book of Life is the first animated feature I had the pleasure to work on. I enjoyed working on this film because it was a nice change from doing strickly photo-realistic work. The stylized look of the film gave me a little more artistic freedom and I was forced to adjust my painting techniques by incorporating more traditional painting as opposed to projection painting. Below you will see a few highlights.
The deado version of Kevin Bacon, called Hayes, is completely CG and a hero double of Kevin Bacon was created in unison to this character. While working on this character, any changes had to be updated across both assets simulatneously so they always precisely matched. I took over the asset from my lead during production so he could focus on other responsibilities. Upon doing so, I continued skin work, adjusting bits here and there, especially around the eyes, hands/arms and neck area as instructed by my supervisor, and continued development on the look of the cracks which also required a great deal of sculpting work. Through the process I continued to work very closely with my lead and my look development supervisor, who was resposible for the fur and shader work.
The Hyena in Life of Pi was based on a live hyena that was on set and in some of the shots in the movie. Therefore, the CG hyena had to match the live hyena. This required extreme attention to detail in the skin and the spots in the fur, which were partiuarly challenging considering the length of the fur. I worked closely with my fur groomer and shader artist to achieve the final look of the hyena you see in the movie. Below are closeup renders displaying the details that went into creating the hyena.
The Tooth Fruit consisted of over one hundred individual leaves that ended up being their own texture map making this asset a test of skill in organization as well as painting. There was also a bit of R&D to achieve the desired look for the glow in the leaves which was used as a starting point for the glow in the rest of the island trees.
Below you can see some of the tree work I did for the Island sequence of the movie. The First frame is a wide shot showing off the mid level trees, which I did an inital setup on and then the work was shared among several painters. The second frame shows the hero tree: I painted the set tree extensions you see behind Pi's head.
The Charybdis Interior is a very large inside of a sea creature. This asset was a lot of fun to paint because of the organic and imaginative qualities, but also presented a lot of challenges. I took over the asset from my lead, and continued detail work and displacement work. We also worked very closely with effects who generated some very specific organic maps that were based on the cavern maps. In addition to that we also worked closely with effects, lighting and compositing to achieve the desired bioluminescence in the walls.