Hit-Monkey is a Marvel TV show that currently has two seasons. I started as a 3D Environment Artist in the first season, and went on to be the 3D Department Director in the second season. As the 3D Director I was responsible for all 3D needs of the production.
Oversaw all aspects of production within the 3D department including modeling, texturing, animation, and technical art
Worked with other department heads to coordinate asset deliveries
Hired and trained a team of 3D artists to fill various roles on the team
Established and documented new workflows to meet the rapidly changing needs of the production
Oversaw the creation of scripts and tools to improve the efficiency of the pipeline
Created 3D models, animations, layouts, textures, and renders per the needs of production
Utilized plugins to create numerous procedurally generated props, environments, and textures
Assisted with implementing 3D workflows in storyboards, environment design, backgrounds, and composite
3D Backgrounds
Many backgrounds and vehicles in this show are entirely 3D animated, especially in action sequences. These sets are modeled and textured to match the 2d painted style of the show. The completed renders of the 3D animation is delivered to the composite department, along with tracking data to help add effects in Fusion.
This Tokyo highway set is and environment I modeled based on reference from google street view, and the layout displayed in the storyboards. The majority of this set is procedurally generated by the RailClone plugin using a kit of parts I created. Creating an environment this way significantly reduces the difficulty of making changes to the layout of the scene, such as extending the length of the road. It also massively decreases file size and increases viewport performance, which is important for the 3D animators down the line. Once the set was built I set the first pass of camera angles before handing it off to the 3D animators.
2D Backgrounds
The vast majority of backgrounds in Hit-Monkey begin as basic 3D renders before being painted by the paint department. First the set is modeled in 3dsMax, with a primary focus placed on the hard surface elements of the environment. Next camera angles are set to match the storyboards. Finally a render is produced where objects are separated onto different layers in a PSD document. With a vast majority of the perspective work finished, the paint team can focus on adding texture, organic elements, and polish to the background. This division of labor allows the 3D and paint teams to each focus on their strengths while the assisting with each others weaknesses. Below are some examples of 3D environments I created for the show, compared against the final product.
3D Directing
On season 2 of Hit-Monkey I served as the 3D department director. I oversaw all aspects of production, from modeling and texturing to animation and technical art, ensuring a seamless workflow and high-quality output. I regularly established new workflows, wrote thorough documentation, and trained team members to use these techniques. My leadership skills and adaptability have been crucial to meeting the dynamic demands of a fast pace production environment. Below is a collection of shots from season 2 which include significant contributions from the 3D department.
