Hit Monkey Season 2

Below are examples of files that I worked on during the production of season two's background art.

Above is a background from story board to finish composited background. This showcases the different iterations and versions as it progressed with more and more design requests from Art Direction

Above is a before and after Background Adjustment. This was a background piece created from our outside studio and needed additional care to bring out a greater sense of realism. The lighting, props, and set decoration were overhauled to make a more gritty and lived in environment. 

Above is a Background sent in from our overseas studio that needed additional work with lighting and texturing. By doing this it created a more realistically lit and dynamic city scene.

This background was started with simple gray shapes with a line pass delivered from the 3D team. This was a unique challenge that allowed me to create a dynamic and more lived in establishing shot that helped to give depth to the city. Additional adjustments were made by Hannah Kim

The above Background was a new challenge for our pipeline because we implemented using Blender exported psds in a very simply exported setting. This posed a difficult because of the lack of 3D lighting where it had to be created from scratch.

The above background was created using a series of asset bashing and relighting. Artists on my team helped to create the assets for the desert scene and I took the opportunity to cohesively string all of it together in a sunset lighting scheme. Credit to Nina Mallery, Jonah Gibson, Travon Serrano, and our background staff.

Above was a background that was painted as a speed demonstration with additional assets provided by Chris Hsu. I painted the lighting and texturing in about 2 hours as a way to showcase creating dynamic lighting for a complex environment in a quick, but well organized amount of time.

Above is a Background that was created using a wide variety of techniques involving asset bashing, and environment warping. The file was partially painted by Chris Hsu who provided the lighting and texturing, and I came and finished with additional assets.

This is one of my favorite backgrounds that I got to paint from start to finish. It was a large shot that involved a large amount of asset creation to create the finished look. It was a lot of fun to create such a grand shot with the depth and scale.