Jonathan Brioschi Design

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	<title>Jonathan Brioschi Design</title>
	<link>https://jonathanbrioschi.com</link>
	<description>Jonathan Brioschi Design</description>
	<pubDate>Fri, 14 Jun 2024 21:49:11 +0000</pubDate>
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		<title>WORK</title>
				
		<link>https://jonathanbrioschi.com/WORK</link>

		<pubDate>Wed, 09 Nov 2022 04:08:23 +0000</pubDate>

		<dc:creator>Jonathan Brioschi Design</dc:creator>

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		<description>Jonathan Brioschi is a 3D motion designer who focuses on creating electric imagery that engages and excites the viewer.
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		<title>BLEU DE CHANEL</title>
				
		<link>https://jonathanbrioschi.com/BLEU-DE-CHANEL</link>

		<pubDate>Fri, 14 Jun 2024 21:49:11 +0000</pubDate>

		<dc:creator>Jonathan Brioschi Design</dc:creator>

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		<description>BLEU DE CHANEL
ROLE: Creative Direction &#124; Art Direction &#124;

Design

&#124; Animation&#38;nbsp;
DATE: 2024
SOFTWARE USED: Houdini &#124; Cinema 4D 
&#124; Redshift

&#124;

After Effects

 
I set out to create a mock ad for the cologne Bleu De Chanel. My goal was to create something you would see out in the real world; on a digital billboard or a short YouTube ad.&#38;nbsp;I learnt the flip sim through the small scale fluids course at&#38;nbsp;Houdini School by Jacktone Okore. &#38;nbsp;My biggest challenge was dealing with cache times between iterations with the flip sim. I learnt its best to work in a lower resolution to reduce cache times to increase iterations and decrease time between changes.

Then finalizing the look with more details down the road, when you’re happy with the core simulation and its movement.


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		<title>EVERYDAYS</title>
				
		<link>https://jonathanbrioschi.com/EVERYDAYS</link>

		<pubDate>Wed, 06 Mar 2024 18:20:17 +0000</pubDate>

		<dc:creator>Jonathan Brioschi Design</dc:creator>

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EVERYDAY FEBRUARY

ROLE: All Aspects
DATE: 2024
SOFTWARE USED: Cinema 4D 
&#124; After Effects 
&#124;

 Redshift &#124; Photoshop&#38;nbsp;While talking with my mentor and planning for my next personal project, we came to the conclusion that I really struggled with colour theory. He suggested that I try out creating a render everyday for the month of February. 
I wanted to really push myself and explore different art directions and procedural methods inside C4D, creating a styleframe everyday, focusing on colour theory. The main goal, fail faster.
Everyday was a new challenge with different learning outcomes for the day. I found out quickly in the month that the worst case scenario wasn’t failing, but the unwillingness to try something different. 
The most valuable thing about doing an everyday was it forced me to reflect faster and notice my mistakes earlier, in turn I felt that I learned at an accelerated rate.
&#38;nbsp;


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&#60;img width="2048" height="2048" width_o="2048" height_o="2048" data-src="https://freight.cargo.site/t/original/i/86980a2841a05f221890b1fcf4143a281574d04baeea8531a12aa1341b5c804e/Everyday23_0V2_0001_Render-assemble-0-00-00-00.png" data-mid="206193212" border="0"  src="https://freight.cargo.site/w/1000/i/86980a2841a05f221890b1fcf4143a281574d04baeea8531a12aa1341b5c804e/Everyday23_0V2_0001_Render-assemble-0-00-00-00.png" /&#62;
&#60;img width="2048" height="2048" width_o="2048" height_o="2048" data-src="https://freight.cargo.site/t/original/i/63863e6a27bbf9af3a3053767d12914567c7347484ef169176d7cbc01d77098b/Everyday21_0V1_Render-assemble-0-00-00-00.png" data-mid="206193210" border="0"  src="https://freight.cargo.site/w/1000/i/63863e6a27bbf9af3a3053767d12914567c7347484ef169176d7cbc01d77098b/Everyday21_0V1_Render-assemble-0-00-00-00.png" /&#62;
&#60;img width="2048" height="2048" width_o="2048" height_o="2048" data-src="https://freight.cargo.site/t/original/i/413ff2f481e6bf3b15888c41e325304c2b3c35c181de9278a4d0b4556886e3ca/Everyday26_Render_0V1-assemble-0-00-00-00.png" data-mid="206193233" border="0"  src="https://freight.cargo.site/w/1000/i/413ff2f481e6bf3b15888c41e325304c2b3c35c181de9278a4d0b4556886e3ca/Everyday26_Render_0V1-assemble-0-00-00-00.png" /&#62;

</description>
		
	</item>
		
		
	<item>
		<title>REEL 2023</title>
				
		<link>https://jonathanbrioschi.com/REEL-2023</link>

		<pubDate>Sat, 30 Sep 2023 01:11:41 +0000</pubDate>

		<dc:creator>Jonathan Brioschi Design</dc:creator>

		<guid isPermaLink="true">https://jonathanbrioschi.com/REEL-2023</guid>

		<description>REEL 2023

ROLE: Creative Direction &#124; Art Direction &#124;

Design

&#124; Animation&#38;nbsp;
DATE: 2023
SOFTWARE USED: Houdini &#124;&#38;nbsp;Cinema 4D 
&#124; Redshift

&#124;

After Effects

 
Here is a collection of all of my best 3D motion design work to date.&#38;nbsp;I set out to create a reel that was quick and to the point, something that showed my best work and expressed my passion as a motion designer. The most import thing to me was to have a unique intro, I wanted to pay homage to the great opening of one of my favourite films,&#38;nbsp;La Haine. &#38;nbsp;
It was also super important to me describe myself sonically, I wanted to utilize the energy and raw power of rock music. With banging drums and kinetic guitar solo’s Roxy Music was a great place to start.
All work is by Jonathan Brioschi.


&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/e8a911c87d8eeaf8f488d786745e523899eea659599b26849e7fceed6837681c/Comp-1-0-00-03-08.png" data-mid="192286849" border="0"  src="https://freight.cargo.site/w/1000/i/e8a911c87d8eeaf8f488d786745e523899eea659599b26849e7fceed6837681c/Comp-1-0-00-03-08.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/ca2baac395c9e92217aabadcb31f3f38410ab988d484769d889e5206f91bbcb9/Comp-1-0-00-05-03.png" data-mid="192286850" border="0"  src="https://freight.cargo.site/w/1000/i/ca2baac395c9e92217aabadcb31f3f38410ab988d484769d889e5206f91bbcb9/Comp-1-0-00-05-03.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2ca6e899539b509c48a16f4fc6b56f6f66ba0f8a079e4fe9fc02cacd127d45f5/Shot_030_PreVis_V3-0-00-00-12.png" data-mid="192286852" border="0"  src="https://freight.cargo.site/w/1000/i/2ca6e899539b509c48a16f4fc6b56f6f66ba0f8a079e4fe9fc02cacd127d45f5/Shot_030_PreVis_V3-0-00-00-12.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/e34b5f36b189d24b42c8ea26f7bf44a44a33cfb7dd1a735ffc33f43ffcdc2482/Comp-1-0-00-08-10.png" data-mid="192286851" border="0"  src="https://freight.cargo.site/w/1000/i/e34b5f36b189d24b42c8ea26f7bf44a44a33cfb7dd1a735ffc33f43ffcdc2482/Comp-1-0-00-08-10.png" /&#62;

</description>
		
	</item>
		
		
	<item>
		<title>SUDDEN DEATH</title>
				
		<link>https://jonathanbrioschi.com/SUDDEN-DEATH</link>

		<pubDate>Wed, 09 Nov 2022 04:08:23 +0000</pubDate>

		<dc:creator>Jonathan Brioschi Design</dc:creator>

		<guid isPermaLink="true">https://jonathanbrioschi.com/SUDDEN-DEATH</guid>

		<description>SUDDEN DEATH
ROLE:&#38;nbsp;Animation

&#124;

Design

&#124;

Creative


Direction


DATE: 2022
SOFTWARE USED:

Cinema 4D &#124;  Redshift 
&#124;


After Effects

 &#124; Illustrator &#124; PhotoshopSudden Death was my graduate project for VFS. It is a fictional basketball advertisement that immerses the viewer with a surreal take on a high stakes game of basketball.

The Graduate Project is the single largest portfolio asset generated within the Digital Design curriculum. It represents not only a larger scope than most other projects that students in the program will have worked on but also an opportunity to set a career direction and pursue an individual passion for Digital Design.

Sudden Death fills the void of tastefully art directed and engaging 3D/typographic sports visuals that I found was lacking in mainstream media. It is a combination of my love of basketball, extreme music, videogames and design. An epitome of my learning at VFS and where I stand as a motion designer up until this very point in time.


&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/cd6f815481c1cdae17bab216ca60a3192b1372c2381f11737ad3a03b6dcd3fea/Master-Comp_FINALRENDERS-0-00-15-14.png" data-mid="158446550" border="0"  src="https://freight.cargo.site/w/1000/i/cd6f815481c1cdae17bab216ca60a3192b1372c2381f11737ad3a03b6dcd3fea/Master-Comp_FINALRENDERS-0-00-15-14.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/11f44d419687d7f0c79b9db0114d2bc6db7dd52b8dc4abf7396f136f5a1f49ff/Master-Comp_FINALRENDERS-0-00-26-24.png" data-mid="161101059" border="0"  src="https://freight.cargo.site/w/1000/i/11f44d419687d7f0c79b9db0114d2bc6db7dd52b8dc4abf7396f136f5a1f49ff/Master-Comp_FINALRENDERS-0-00-26-24.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/c5bec32f5f67587ce2534a7ff589dcd44456045ee6e8fe977fcd86705a4f66fc/Master-Comp_FINALRENDERS-0-00-24-26.png" data-mid="161101058" border="0"  src="https://freight.cargo.site/w/1000/i/c5bec32f5f67587ce2534a7ff589dcd44456045ee6e8fe977fcd86705a4f66fc/Master-Comp_FINALRENDERS-0-00-24-26.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/32347ebf8f3f78cd9a70cba5a8fd4859d12b2c89d5b3b81a2fed0bc5e960f854/Master-Comp_FINALRENDERS-0-00-20-18.png" data-mid="161101057" border="0"  src="https://freight.cargo.site/w/1000/i/32347ebf8f3f78cd9a70cba5a8fd4859d12b2c89d5b3b81a2fed0bc5e960f854/Master-Comp_FINALRENDERS-0-00-20-18.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/90b963eb9cc0ac51de6d2bb331983a0800511e19b2bb90893dcfd6b868d30eaa/Master-Comp_FINALRENDERS-0-00-19-14.png" data-mid="161101056" border="0"  src="https://freight.cargo.site/w/1000/i/90b963eb9cc0ac51de6d2bb331983a0800511e19b2bb90893dcfd6b868d30eaa/Master-Comp_FINALRENDERS-0-00-19-14.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/0096525bb863b90ab0add88e6db0b002087802461c9774cde559190412fd163b/Master-Comp_FINALRENDERS-0-00-09-11.png" data-mid="161101053" border="0"  src="https://freight.cargo.site/w/1000/i/0096525bb863b90ab0add88e6db0b002087802461c9774cde559190412fd163b/Master-Comp_FINALRENDERS-0-00-09-11.png" /&#62;


	PROCESS
	For this project I began with creating a Notion board to layout and understand my approach to this project. I started by clearly defining the brief and understanding what type of deliverable I would be creating for this fictional client. 

I like Notion because it allows me to clearly see all of my previz work that I had created so I could easily get a feel for where I was at before going into production.


I then started with a bunch of research defining my target audience and competition. The first thing I wanted to understand was who I would be making this ad for so I could understand what important descisions I could intentionally make pertaining to the target audience. I also wanted to have a strong idea of who the brand was, and what I was creating for.&#38;nbsp;

 
After defining my brief I moved into my animatic so I could just brain dump all my of ideas to get a start to the project. I first began with primitive shapes and just blocked out the scenes with basic camera movements. Using the viewport render I exported all of the scenes and cut them to music, also roughly placing in where my typography would go.&#38;nbsp;
My process after this stage was just building up the scenes, slowly dialing in camera movements to lock off my shots so I only had to create what was inside the frame. Then I moved into bringing in highpoly assets and would just continue to make the shots stronger. Each big decision would be rendered through the viewport render and cut in After Effects so I could get a feel for the animation as a whole and could show to my classmates, teachers and mentor for feedback.


	BASKETBALL TEXTURING SETUP
	Early into the project I decided I would be doing the entire texturing process inside of the Redshift shader graph. This was easily the most challenging part of the entire project.&#38;nbsp;
From my experience of playing basketball for almost 7 years I was quite confident in what a basketball should look like. The problem was that a lot of 3D basketballs didn’t actually look like real leather basketballs, and there was no textures from assets that would allow me to reverse engineer them the way that I wanted it to look.
So I knew that I would have to build it from scratch. The basic formula for the setup is each graphic texture uses itself as a displacement map to push the texture in creating a “stamp” effect. That stamp effect is then masked from the displacement of the little bumps on the ball because from the stamping process they would push in also. 
It was a small detail but it was something I knew I would have to nail because the ball is very much so the “main character” of the entire film. And if the ball felt fake then the viewer would immediately be “taken out” of the experience.


&#60;img width="1121" height="594" width_o="1121" height_o="594" data-src="https://freight.cargo.site/t/original/i/79815c70492f31a9f155e8b7b1e942672400408caacfff89beab0582839a908d/Redshift_Shader_Graph_-_Black_Basketball_Material_2022-10-06_5_07_10_PM.png" data-mid="158449508" border="0"  src="https://freight.cargo.site/w/1000/i/79815c70492f31a9f155e8b7b1e942672400408caacfff89beab0582839a908d/Redshift_Shader_Graph_-_Black_Basketball_Material_2022-10-06_5_07_10_PM.png" /&#62;
&#60;img width="600" height="338" width_o="600" height_o="338" data-src="https://freight.cargo.site/t/original/i/594811c9b50f039199fa0bb39bab30de18ccc4cd2766e9632934dcbe54af4ba3/ezgif.com-gif-maker3.gif" data-mid="161100789" border="0"  src="https://freight.cargo.site/w/600/i/594811c9b50f039199fa0bb39bab30de18ccc4cd2766e9632934dcbe54af4ba3/ezgif.com-gif-maker3.gif" /&#62;

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/76d81a7e6761ad2b6e0cf2b48319136c4426363c6875ff974c97cd1fc33897a8/JB_SUDDENDEATH_SHOT04_0418-assemble-0-00-00-04.png" data-mid="161224982" border="0"  src="https://freight.cargo.site/w/1000/i/76d81a7e6761ad2b6e0cf2b48319136c4426363c6875ff974c97cd1fc33897a8/JB_SUDDENDEATH_SHOT04_0418-assemble-0-00-00-04.png" /&#62;


&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/4497fc2c623e3a92eaee35b213d827539573f5dc821500a45a2ab48f4f4fdce5/JB_SUDDENDEATH_SHOT04_MASKTEST0431-assemble-0-00-00-01.png" data-mid="161224963" border="0"  src="https://freight.cargo.site/w/1000/i/4497fc2c623e3a92eaee35b213d827539573f5dc821500a45a2ab48f4f4fdce5/JB_SUDDENDEATH_SHOT04_MASKTEST0431-assemble-0-00-00-01.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/7ecc737da1093dc3a41f53acb1e9d7e8f872805a157a6092d12035b5d5608dfb/JB_SUDDENDEATH_SHOT04_0416-assemble-0-00-00-01.png" data-mid="161225018" border="0"  src="https://freight.cargo.site/w/1000/i/7ecc737da1093dc3a41f53acb1e9d7e8f872805a157a6092d12035b5d5608dfb/JB_SUDDENDEATH_SHOT04_0416-assemble-0-00-00-01.png" /&#62;


GRAPHICS

	The graphics were definitely the most enjoyable part of this whole project, I had so much fun making all of the little logos and companies inside of this film’s world.
The first graphic I created was the VBA logo, it was finished right around the time I had my first rough animatic done. I wanted to have a face to the brand I was creating for so I could make more aesthetic decisions along the process of creating other graphics. I drew a lot of influences from airforce military badges for the VBA logo, I felt that flight and basketball held many similarities and represented a very strong brand.&#38;nbsp;
I brought all the logos from Illustrator to Photoshop to fit in a square format so they could be applied in Redshift with ease. I made them black and white so they could be used as alpha mattes and displacement maps in Redshift to make my life easier.&#38;nbsp;
The scratches we’re applied to the graphics in Redshift instead of Photoshop because it gave me more control in the lighting &#38;amp; texturing process. I could change the level of wear for a graphics to be more or less prominent in a couple clicks. 
In 3D I always look for the workflow that will give me most control so I can make decisions faster in the creative process instead of wasting time switching between softwares.&#38;nbsp;


&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/71c2563baa43afa8b8d11bafa37d115a5a21621a0d9833909876c114aa5c4186/Master-Comp_FINALRENDERS-0-00-13-07.png" data-mid="161101054" border="0"  src="https://freight.cargo.site/w/1000/i/71c2563baa43afa8b8d11bafa37d115a5a21621a0d9833909876c114aa5c4186/Master-Comp_FINALRENDERS-0-00-13-07.png" /&#62;


&#60;img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/81c34e215b8df3d10c895aca2d6e3fb946e124020b5433600cd8dcd7a56b7f97/Artboard-1.png" data-mid="161314307" border="0"  src="https://freight.cargo.site/w/1000/i/81c34e215b8df3d10c895aca2d6e3fb946e124020b5433600cd8dcd7a56b7f97/Artboard-1.png" /&#62;
&#60;img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/808aecfee52df6a4097df7502d899ee29486b4891b88814c4474df0d5ba10130/Artboard-1-copy-2.png" data-mid="161314371" border="0"  src="https://freight.cargo.site/w/1000/i/808aecfee52df6a4097df7502d899ee29486b4891b88814c4474df0d5ba10130/Artboard-1-copy-2.png" /&#62;
&#60;img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/ffd5acf3b30f9ec9f0b290967b29fb876c922cb08afd02300def92e2d94107ba/Artboard-1-copy.png" data-mid="161314456" border="0"  src="https://freight.cargo.site/w/1000/i/ffd5acf3b30f9ec9f0b290967b29fb876c922cb08afd02300def92e2d94107ba/Artboard-1-copy.png" /&#62;
&#60;img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/0e81a51b03b7f624af72ea8425258dedfa52d4b64960de983c6e908eafb4a5d4/Artboard-1-copy-6.png" data-mid="161314418" border="0"  src="https://freight.cargo.site/w/1000/i/0e81a51b03b7f624af72ea8425258dedfa52d4b64960de983c6e908eafb4a5d4/Artboard-1-copy-6.png" /&#62;
&#60;img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/e76fb5e492596de3573a7fea6949444d1a8da600f12a167d5d61cb648798211a/Artboard-1-copy-5.png" data-mid="161314393" border="0"  src="https://freight.cargo.site/w/1000/i/e76fb5e492596de3573a7fea6949444d1a8da600f12a167d5d61cb648798211a/Artboard-1-copy-5.png" /&#62;
&#60;img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/54506d61ba3a71ee401dbfe717499d6a3da24ffde7317a3907ccfd0b9dc1b8a9/Artboard-1-copy-3.png" data-mid="161314372" border="0"  src="https://freight.cargo.site/w/1000/i/54506d61ba3a71ee401dbfe717499d6a3da24ffde7317a3907ccfd0b9dc1b8a9/Artboard-1-copy-3.png" /&#62;
&#60;img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/7aa4edda257d24353540ecdd9fb1efd6813290f1b4dc33c4bed4b2ef53662ca6/Artboard-1-copy-4.png" data-mid="161314373" border="0"  src="https://freight.cargo.site/w/1000/i/7aa4edda257d24353540ecdd9fb1efd6813290f1b4dc33c4bed4b2ef53662ca6/Artboard-1-copy-4.png" /&#62;
&#60;img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/969dd25dd0bd1dc59739d639cdc33d001127b8d223fbdbdb86b9b11e969321bc/Artboard-1-copy-7.png" data-mid="161314431" border="0"  src="https://freight.cargo.site/w/1000/i/969dd25dd0bd1dc59739d639cdc33d001127b8d223fbdbdb86b9b11e969321bc/Artboard-1-copy-7.png" /&#62;

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/65b17afc3c36b9cec07beb5429400f46a9e5f5deafa8ada62361ab79b6da9d10/Master-Comp_FINALRENDERS-0-00-06-22.png" data-mid="161101051" border="0"  src="https://freight.cargo.site/w/1000/i/65b17afc3c36b9cec07beb5429400f46a9e5f5deafa8ada62361ab79b6da9d10/Master-Comp_FINALRENDERS-0-00-06-22.png" /&#62;

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/fec7385d230a9d1e38c02351daea505e1f3cba8aa29510fc4fd2247d62ad7154/SUDDEN-DEATH--0-00-18-15.png" data-mid="161771994" border="0"  src="https://freight.cargo.site/w/1000/i/fec7385d230a9d1e38c02351daea505e1f3cba8aa29510fc4fd2247d62ad7154/SUDDEN-DEATH--0-00-18-15.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/6c32288a34bad555db459d0b7823a5d5ce98c1fe8b640497e02797f38dd4dbb9/SUDDEN-DEATH--0-00-18-18.png" data-mid="161771995" border="0"  src="https://freight.cargo.site/w/1000/i/6c32288a34bad555db459d0b7823a5d5ce98c1fe8b640497e02797f38dd4dbb9/SUDDEN-DEATH--0-00-18-18.png" /&#62;

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/78de8273a1d0964fc1164d78a62908ef51e338c231fed54128d030a933953675/Master-Comp_FINALRENDERS-0-00-18-25.png" data-mid="161771996" border="0"  src="https://freight.cargo.site/w/1000/i/78de8273a1d0964fc1164d78a62908ef51e338c231fed54128d030a933953675/Master-Comp_FINALRENDERS-0-00-18-25.png" /&#62;


	COMPOSITING
	I love huge typography that is bold and really in your face, but it was also super important to me that the text didn’t just sit in front of the visuals. I wanted the typography to interact with the 3D elements and work together to feel more engaging than a simple text layer above everything else.&#38;nbsp;
This is where cryptomattes came in; they gave me the ability to create mattes for my 3D objects in After Effects and place text layers of any other graphics behind the 3D elements. Before these I used to use puzzlemattes but I found that cryptomattes have way more control and are way easier to set up in Redshift.&#38;nbsp;
Finally comes in the ACES workflow, my mentor Shawn Hight recommended that I try it out so I wanted to give it a shot. I did some research and found some great videos on how to set it up but it wasn’t the most straightforward process. But it gave me so much control!
First of all I felt more confident because I knew my renders coming out of Redshift were the exact same as in After Effects. Also the dynamic range I could get out of images was great too, there we’re a couple scenarios where some scenes (especially the the skull) got blow out. And because I was working in ACES and I had AOVs setup I was able to contain the highlights without having to rerender.&#38;nbsp;


&#60;img width="1920" height="997" width_o="1920" height_o="997" data-src="https://freight.cargo.site/t/original/i/75c5dc51660e47a984142114cbe14e5453151dba732301cd9004e058fe396428/Adobe-After-Effects-2023---D__VFS_Term-5_GP_SUDDE-...-STER_V7_JB_SUDDENDEATH_MASTER_V7_JB_SUDDENDEATH_MASTER_V13_WITHSLATES.aep-_-12_6_2022-3_48_37-PM.png" data-mid="161225578" border="0"  src="https://freight.cargo.site/w/1000/i/75c5dc51660e47a984142114cbe14e5453151dba732301cd9004e058fe396428/Adobe-After-Effects-2023---D__VFS_Term-5_GP_SUDDE-...-STER_V7_JB_SUDDENDEATH_MASTER_V7_JB_SUDDENDEATH_MASTER_V13_WITHSLATES.aep-_-12_6_2022-3_48_37-PM.png" /&#62;


&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/3dc2c37e532a3db16cab39512dc07286d6cbf676b7e86ed124ebd7ebc9ad5fb3/SUDDEN-DEATH--0-00-14-23.png" data-mid="161225547" border="0"  src="https://freight.cargo.site/w/1000/i/3dc2c37e532a3db16cab39512dc07286d6cbf676b7e86ed124ebd7ebc9ad5fb3/SUDDEN-DEATH--0-00-14-23.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/5ef5a397d3da2f8b5e2fc241b8b8313a939bc0b2618eebfe9f4c184261e30031/SUDDEN-DEATH--0-00-17-00.png" data-mid="161225530" border="0"  src="https://freight.cargo.site/w/1000/i/5ef5a397d3da2f8b5e2fc241b8b8313a939bc0b2618eebfe9f4c184261e30031/SUDDEN-DEATH--0-00-17-00.png" /&#62;


&#60;img width="1920" height="997" width_o="1920" height_o="997" data-src="https://freight.cargo.site/t/original/i/0279f8c5a3fd78bd7767d3188d89f1139ba4043545930b0e29c6bb2a6c138f70/Adobe-After-Effects-2023---D__VFS_Term-5_GP_SUDDE-...-STER_V7_JB_SUDDENDEATH_MASTER_V7_JB_SUDDENDEATH_MASTER_V13_WITHSLATES.aep-_-12_6_2022-2_44_04-PM.png" data-mid="161225604" border="0"  src="https://freight.cargo.site/w/1000/i/0279f8c5a3fd78bd7767d3188d89f1139ba4043545930b0e29c6bb2a6c138f70/Adobe-After-Effects-2023---D__VFS_Term-5_GP_SUDDE-...-STER_V7_JB_SUDDENDEATH_MASTER_V7_JB_SUDDENDEATH_MASTER_V13_WITHSLATES.aep-_-12_6_2022-2_44_04-PM.png" /&#62;
 
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/cbf1a7e24ad6b74a99ac88f41c0dbc29a98367cce8e740c741c65a8ba57f7ead/Master-Comp_FINALRENDERS-0-00-05-18.png" data-mid="161101050" border="0"  src="https://freight.cargo.site/w/1000/i/cbf1a7e24ad6b74a99ac88f41c0dbc29a98367cce8e740c741c65a8ba57f7ead/Master-Comp_FINALRENDERS-0-00-05-18.png" /&#62;
&#38;nbsp;</description>
		
	</item>
		
		
	<item>
		<title>ORION</title>
				
		<link>https://jonathanbrioschi.com/ORION</link>

		<pubDate>Wed, 09 Nov 2022 04:08:25 +0000</pubDate>

		<dc:creator>Jonathan Brioschi Design</dc:creator>

		<guid isPermaLink="true">https://jonathanbrioschi.com/ORION</guid>

		<description>ORION

ROLE: Animation 

&#124;

Design

&#124;

 Creative Direction


DATE: 2022
SOFTWARE USED: Cinema 4D 
&#124; Redshift

&#124;

After Effects

&#124; Illustrator 

Orion is an advertisement for a fictional water bottle brand. With minimalist and futuristic design elements, the short film tells a story of exploration and discovery. 

In term 3 at VFS, each student was tasked with creating a 15 second short film utilizing 3D; from modeling, texturing and lighting to final composite all in 6 weeks. Having some knowledge of the graph editor in C4D I wanted to push myself with dynamic and interesting camera movements. I also wanted to test my design skills with creating captivating imagery that engaged and excited the viewer.

Everything except the music was done by me. Animation, lighting, branding, modeling, and compositing.The title Orion is from one of my favourite songs by Metallica&#38;nbsp;


&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/c6a822a83a93fd4a84a5f3a6207fc3bdddaf337856e4269702a93b41cecffa18/Full-Scene-0-00-05-02.png" data-mid="161639420" border="0"  src="https://freight.cargo.site/w/1000/i/c6a822a83a93fd4a84a5f3a6207fc3bdddaf337856e4269702a93b41cecffa18/Full-Scene-0-00-05-02.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2bc327794e57d1a1284ad2ba068a3bbfc2b67b8511b150fc2fdffaba564b2b5e/Full-Scene-0-00-07-16.png" data-mid="161639421" border="0"  src="https://freight.cargo.site/w/1000/i/2bc327794e57d1a1284ad2ba068a3bbfc2b67b8511b150fc2fdffaba564b2b5e/Full-Scene-0-00-07-16.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/eba7ac03ef2c561b2dca7398d361b27f1f539fd81fb5d8546897caa16b7fbd44/Full-Scene-0-00-11-28.png" data-mid="161639733" border="0"  src="https://freight.cargo.site/w/1000/i/eba7ac03ef2c561b2dca7398d361b27f1f539fd81fb5d8546897caa16b7fbd44/Full-Scene-0-00-11-28.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/039d4db3677c19c47407bb17f864c8cfc726689207cca9a859451f9337934f9b/Full-Scene-0-00-15-07.png" data-mid="161639423" border="0"  src="https://freight.cargo.site/w/1000/i/039d4db3677c19c47407bb17f864c8cfc726689207cca9a859451f9337934f9b/Full-Scene-0-00-15-07.png" /&#62;


	PROCESS
	Orion was my first big project of creating a 3D animation with multiple scenes that had to have a strong rhythm and flow into eachother. It was also the my first time creating a product visualisation, also having to concept and model it myself.I began with sketching a rough design of what the water bottle would look like, minimal design but with interesting aesthetics that add some detail. I watched a lot of topology tutorials on how to model a cylindrical object. It’s difficult because loop cuts can be very troublesome on rounded objects. The technique I found was breaking the lid in 1/4 and modeling the extrusion with very high subdivisions, then using a cloner to duplicate it 3 more times. The rest of the model was pretty straight forward just add slight nuances throughout the design.
Then I moved into texturing the bottle, this was also the first time I placed graphics on a model all done inside of Redshift, I used many of the same techniques I used for Sudden Death.
I lit the entire sequence in chronological order so I wouldn’t get confused since this was my first go at rendering and cutting multiple shots. My teacher introduced me to rendering in the viewport render and that was a huge game changer to understand the pacing of how each shot flowed into eachother, without wasting big render times.


It ain’t pretty but we gotta start somewhere.</description>
		
	</item>
		
		
	<item>
		<title>L'ORÉAL PARIS</title>
				
		<link>https://jonathanbrioschi.com/L-OREAL-PARIS</link>

		<pubDate>Thu, 28 Dec 2023 22:29:58 +0000</pubDate>

		<dc:creator>Jonathan Brioschi Design</dc:creator>

		<guid isPermaLink="true">https://jonathanbrioschi.com/L-OREAL-PARIS</guid>

		<description>
L'ORÉAL PARIS TELESCOPIC MASCARA


ROLE: Animation 

&#124;

Design

&#124; 

R&#38;amp;D
DATE: 2023
SOFTWARE USED: Cinema 4D 
&#124;

Octane 

At the start of October 2023 Voidz was asked to participate in an animation for L’Oréal where we would incorporate one of their products waving to the Eiffel Tower.I was tasked with the animation side of the project; blocking out the animation, running motion tests, and setting up the rigs. I also had to model the product for proper topology for use in animation, and some initial lookdev for the materials and decal placement.
Voidz filmed the scene, achieving the final render, finalizing all aspects of compositing, including the initial track and final roto work also including sound design.


&#60;img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/6f2f7b6e314e6519c7bc4f05af113f28e8ad338fb70635309e2bb4b817e078e6/-2101619205785990044loreal_wavy_v03-0-00-03-15.png" data-mid="200292521" border="0"  src="https://freight.cargo.site/w/1000/i/6f2f7b6e314e6519c7bc4f05af113f28e8ad338fb70635309e2bb4b817e078e6/-2101619205785990044loreal_wavy_v03-0-00-03-15.png" /&#62;
&#60;img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/eade191928abb0e220bbb6b59ae89507a5e96d55d290f6a67e8f514e00d13f93/-2101619205785990044loreal_wavy_v03-0-00-07-06.png" data-mid="200292522" border="0"  src="https://freight.cargo.site/w/1000/i/eade191928abb0e220bbb6b59ae89507a5e96d55d290f6a67e8f514e00d13f93/-2101619205785990044loreal_wavy_v03-0-00-07-06.png" /&#62;
&#60;img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/bbd0ef3cd27ad0700adb022dd22a562c5f230fff8fe71a1a9fc025831e1117fc/-2101619205785990044loreal_wavy_v03-0-00-10-08.png" data-mid="200292524" border="0"  src="https://freight.cargo.site/w/1000/i/bbd0ef3cd27ad0700adb022dd22a562c5f230fff8fe71a1a9fc025831e1117fc/-2101619205785990044loreal_wavy_v03-0-00-10-08.png" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>FEEDBACKER</title>
				
		<link>https://jonathanbrioschi.com/FEEDBACKER</link>

		<pubDate>Mon, 15 Jan 2024 01:31:01 +0000</pubDate>

		<dc:creator>Jonathan Brioschi Design</dc:creator>

		<guid isPermaLink="true">https://jonathanbrioschi.com/FEEDBACKER</guid>

		<description>
FEEDBACKER

ROLE: All Aspects
DATE: 2024
SOFTWARE USED: PF Track 
&#124;

Cinema 4D 
&#124;

Octane&#38;nbsp;&#124; After Effects&#38;nbsp;Towards the end of 2023 
I wanted to get a better understanding
 of the mixed reality workflow. Beginning with filming the shot, tracking it, and working on all aspects of the piece including final sound design. &#38;nbsp;I was inspired by my love of metal music and wanted to try and apply an amplifier into a CG, design driven animation.
Orange was my first choice for it’s eye catching colour and aesthetic.
I wanted to display the amplifiers rich tones and strength by showcasing its ability to transform an average environment into one full of energy and saturation.&#38;nbsp; &#38;nbsp;


&#60;img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/806242cf9b1290b05d721dd814a7f5818eec1bcfdd08ba7deb4589cac8fce5b9/Full-Comp-4k-0-00-01-00_1.png" data-mid="201736639" border="0"  src="https://freight.cargo.site/w/1000/i/806242cf9b1290b05d721dd814a7f5818eec1bcfdd08ba7deb4589cac8fce5b9/Full-Comp-4k-0-00-01-00_1.png" /&#62;
&#60;img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/fdf0c2b9358416b9c1cc0390dbb4716258c1a7edfdf5340eddc6164fb2ad2720/Full-Comp-4k-0-00-06-09_1.png" data-mid="201736640" border="0"  src="https://freight.cargo.site/w/1000/i/fdf0c2b9358416b9c1cc0390dbb4716258c1a7edfdf5340eddc6164fb2ad2720/Full-Comp-4k-0-00-06-09_1.png" /&#62;
&#60;img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/c972eff8642bb4a50581bbce7c5b1d1de3aa2b490c35b3108a52c969346ee972/Full-Comp-4k-0-00-06-20.png" data-mid="201736641" border="0"  src="https://freight.cargo.site/w/1000/i/c972eff8642bb4a50581bbce7c5b1d1de3aa2b490c35b3108a52c969346ee972/Full-Comp-4k-0-00-06-20.png" /&#62;
&#60;img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/43aabef83f49760223d3a69efda822661b7c85237f1e2f86df20ee0ff1e270f9/Full-Comp-4k-0-00-08-07.png" data-mid="201736642" border="0"  src="https://freight.cargo.site/w/1000/i/43aabef83f49760223d3a69efda822661b7c85237f1e2f86df20ee0ff1e270f9/Full-Comp-4k-0-00-08-07.png" /&#62;
&#60;img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/1cbfa12a42a76df6dd935e99cce6816136b9164c3842e832457ee2a87fd83b22/Full-Comp-4k-0-00-11-13.png" data-mid="201736637" border="0"  src="https://freight.cargo.site/w/1000/i/1cbfa12a42a76df6dd935e99cce6816136b9164c3842e832457ee2a87fd83b22/Full-Comp-4k-0-00-11-13.png" /&#62;
&#60;img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/2ecbb9d4e274f9a60b8ec6c4a84f841353514e728152314e6fc02b0bbd1f08a5/Full-Comp-4k-0-00-13-18.png" data-mid="201736638" border="0"  src="https://freight.cargo.site/w/1000/i/2ecbb9d4e274f9a60b8ec6c4a84f841353514e728152314e6fc02b0bbd1f08a5/Full-Comp-4k-0-00-13-18.png" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>JULY 14TH</title>
				
		<link>https://jonathanbrioschi.com/JULY-14TH</link>

		<pubDate>Wed, 09 Nov 2022 04:08:25 +0000</pubDate>

		<dc:creator>Jonathan Brioschi Design</dc:creator>

		<guid isPermaLink="true">https://jonathanbrioschi.com/JULY-14TH</guid>

		<description>JULY 14TH
ROLES: Animation 
&#124; Design 
&#124; Art Direction&#38;nbsp; &#38;nbsp;


DATE: 2021
SOFTWARE USED: Cinema 4D 

&#124; Redshift
&#124; Forester 

&#124; Substance Painter 
&#124; PureRefJuly 14th was a self appointed project I assigned to myself over the summer of 2021. I wanted a project to work on my hardsurface modeling and texturing skills. My goal for this project was to model an object from real life and then texture it in Substance Painter, then placing it in a 3D scene.
This was an actual bookhouse that I would see on my way to the gym everyday. I really liked the look of it and the vibe it gave off so I decided that it would be what I would be my referencing. 

I wanted to create an animated video without complex camera movements, so it felt like the picture itself was alive. 


The title July 14 is inspired from the song Avril 14th by Aphex Twin.


Music by Erik Satie


&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/4f02938cb6bb95a3616c6cb44bc2d198ceac61ca7b31324de6faabd11b3fe0f7/July-14th-0-00-03-07.png" data-mid="161649440" border="0"  src="https://freight.cargo.site/w/1000/i/4f02938cb6bb95a3616c6cb44bc2d198ceac61ca7b31324de6faabd11b3fe0f7/July-14th-0-00-03-07.png" /&#62;

	PROCESS
	I started the project by taking close to one hundred photos of the actual bookhouse. I wanted to have a strong understanding of how it was built, what materials we’re being used, different points of intersection, what things attached to eachother, etc. Then I gathered all of the images I took and put them in a PureRef board so I could easily check my references while working.
After all my reference photos were gathered I went into the modeling stage, this part was super fun. I began by blocking out simple shapes in scale to the real book house, this allowed me to make easier descions of how big or small different pieces should be relating to eachother. Then I slowly built the model up, saving incrementally before a big change was made.
Next was moving into Substance Painter; I used the UV Paint Setup Wizard in C4D to unwrap the model. It was just one click and it did everything for me, it definitely isn’t the best solution for UV’s but it worked for what I needed to do, if I could try again I would use something like RizomUV. It was my first time using Substance Painter but it was super straightforward and very user friendly, it made the whole texturing process 10x easier and way more detailed.
Once I finished the texturing process I brought the bookhouse asset back into C4D to be lit and placed in a scene. Throughout the texturing process in Substance Painter I would bring the asset into C4D to test check that the materials we’re working how I wanted them to.
I used Forester for all the trees and foliage, I also want to mention that the books we’re not made by me and we’re bought from Turbo Squid. Forester was also very user friendly and super quick to setup and use for the first time, it is very heavy to process though. I scattered grass and daisy’s across a plain that I morphed to give an organic feel to the enviroment. 
Finally I placed a the tree in the back tweaking the wind paramaters in Forester, then I was done and ready to press render and colour correct!


&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/02bd6d886330dc7ffeffcc92cf1cb33fb03e79b9f8c9b6ec89880cfde557dfcc/BookhouseFront_Lines.png" data-mid="161775389" border="0"  src="https://freight.cargo.site/w/1000/i/02bd6d886330dc7ffeffcc92cf1cb33fb03e79b9f8c9b6ec89880cfde557dfcc/BookhouseFront_Lines.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/26eada3cdb6c0919cc2def907c66a0e65bf5d35c3333bd63a6c5777993520d8f/BookhouseFront_NoLines.png" data-mid="161775390" border="0"  src="https://freight.cargo.site/w/1000/i/26eada3cdb6c0919cc2def907c66a0e65bf5d35c3333bd63a6c5777993520d8f/BookhouseFront_NoLines.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/5a922d415f563d4dece02fa18bc3d99465bdcb2276be717d480a19f01cf40035/BookhouseThree_Lines.png" data-mid="161775391" border="0"  src="https://freight.cargo.site/w/1000/i/5a922d415f563d4dece02fa18bc3d99465bdcb2276be717d480a19f01cf40035/BookhouseThree_Lines.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/75b028ab570d87ee2fe7694af0db01d2ba9a4bf10534ecabc4b711cc316564c8/BookhouseThree_NoLines.png" data-mid="161775392" border="0"  src="https://freight.cargo.site/w/1000/i/75b028ab570d87ee2fe7694af0db01d2ba9a4bf10534ecabc4b711cc316564c8/BookhouseThree_NoLines.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/b915300133166e0981fb329cf9e2e5474ad8e6dd11113dbd812c4b0d1c7aa72b/BookhouseBack_Lines.png" data-mid="161775387" border="0"  src="https://freight.cargo.site/w/1000/i/b915300133166e0981fb329cf9e2e5474ad8e6dd11113dbd812c4b0d1c7aa72b/BookhouseBack_Lines.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/93b9e64cecb63f79a42c9a0a3740d0ec46c924cd534e034ac41435aaa11fbf29/BookhouseBack_NoLines.png" data-mid="161775388" border="0"  src="https://freight.cargo.site/w/1000/i/93b9e64cecb63f79a42c9a0a3740d0ec46c924cd534e034ac41435aaa11fbf29/BookhouseBack_NoLines.png" /&#62;

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	<item>
		<title>VALE</title>
				
		<link>https://jonathanbrioschi.com/VALE</link>

		<pubDate>Wed, 09 Nov 2022 04:08:24 +0000</pubDate>

		<dc:creator>Jonathan Brioschi Design</dc:creator>

		<guid isPermaLink="true">https://jonathanbrioschi.com/VALE</guid>

		<description>VALE

ROLE:&#38;nbsp;Design 

&#124; Animation 
&#124;

 Art Direction

DATE: 2022

SOFTWARE USED: Cinema 4D 
&#124; Redshift

&#124;

 Illustrator 
&#124; After Effects


Vale is a title card created for a fictional film, inspired by Berserk and Dark Souls. It tells a story of a hero’s final journey knowing that they would face imminent death. Vale is a Latin word for a spoken farewell, the eclipse is a key plot point in the story and represents the end of the world in the film.

This project was created to practice my art direction and design skills. I also wanted to exercise my topology knowledge for typography in 3D and also test my execution of compositing and integrating 3D assets into After Effects (also to try and make a kickass styleframe). 

“Beneath an unsinking black sun...through the boundless gloom...our journey continues.”

― Kentaro Miura (R.I.P)


Music from Dark Souls 3&#38;nbsp;


	PROCESS
	The project began with the creation of of the typography for the titlecard. I wanted the design to be original so I built the typography from scratch, sketched it out then brought it into Illustrator. I drew inspiration from heavy metal logos from the 80’s and old gothic steel letters.&#38;nbsp;
In Illustrator I created pixel perfect guides with matching widths of letters and angles. The logo is designed to be symetrical so I built the shapes intentionally to mirror eachother and have different nuances in them that create dynamism.&#38;nbsp;After finishing the design in Illustrator I brought it into C4D; this is where the real work began. I used the Vector Import in C4D to bring in the logo as a base. I then extruded it then made it editable so I could begin the hardsurface modeling.&#38;nbsp;
Finding the initial technique was difficult but once I figured it out I replicated it throughout each letter. Basically, in the logo’s unsubdivided state I would merge the centre points and extrude certain points out to create a low poly chiseled look. After that I used strategic loop cuts to create the rounding for the subdivision. &#38;nbsp;


&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/76b37c8ebf89d32632a97c3498bdce3b08a66fc30056df345425cf36ec975ae7/Vale-Title-Card-0-00-05-05.png" data-mid="161584621" border="0"  src="https://freight.cargo.site/w/1000/i/76b37c8ebf89d32632a97c3498bdce3b08a66fc30056df345425cf36ec975ae7/Vale-Title-Card-0-00-05-05.png" /&#62;


&#60;img width="8000" height="4500" width_o="8000" height_o="4500" data-src="https://freight.cargo.site/t/original/i/233c95c534f40c937592545cc1b357eaa0ed3b69c641a5b512f2520c6c9de392/VALE_LOGOBREAKDOWN.png" data-mid="161584821" border="0"  src="https://freight.cargo.site/w/1000/i/233c95c534f40c937592545cc1b357eaa0ed3b69c641a5b512f2520c6c9de392/VALE_LOGOBREAKDOWN.png" /&#62;
&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/b1c18d7e3efbdc7ce42c1e7628b294acc761f9ae236e776147c1c4fa6c54afbf/VALE-GOURAD-SHADING.png" data-mid="161577919" border="0"  src="https://freight.cargo.site/w/1000/i/b1c18d7e3efbdc7ce42c1e7628b294acc761f9ae236e776147c1c4fa6c54afbf/VALE-GOURAD-SHADING.png" /&#62;
&#60;img width="1920" height="1017" width_o="1920" height_o="1017" data-src="https://freight.cargo.site/t/original/i/c3b719e20cad8d945413ea6db5d1bb518806bd5ce4b4c79e20e366a0f4a085a1/Cinema-4D-2023.0.0-Student-License---Non-Commercial-License-for-Jonathan-Brioschi---Vale-3D-For-Comp_0007.c4d-_---Main-12_10_2022-5_12_35-PM.png" data-mid="161578344" border="0"  src="https://freight.cargo.site/w/1000/i/c3b719e20cad8d945413ea6db5d1bb518806bd5ce4b4c79e20e366a0f4a085a1/Cinema-4D-2023.0.0-Student-License---Non-Commercial-License-for-Jonathan-Brioschi---Vale-3D-For-Comp_0007.c4d-_---Main-12_10_2022-5_12_35-PM.png" /&#62;


	COMPOSITING
	After the modeling the logo in 3D I began creating the eclipse in After Effects, I went with a more photobash workflow to avoid long simulation time with fire and smoke inside Turbulence FD or Houdini.&#38;nbsp;Once the eclipse&#38;nbsp; was created I exported that animation and brought it into C4D to use as a rim light in the scene. Lighting metal was probaly one of the most difficult parts of this project, with so much reflection, it picks up a lot of light so it’s a big dance with the roughness of the metal and the brightness/position of the light. My solution was using a GSG dome light, giving the logo enough shadow and then using an area light in front as a highlight to create a focal point.
The composite of the logo into AfterEffects consisted of matching the grade of the eclipse without the metal being too orange or looking like gold. Finally all pieces of the scene were split into 3D layers, then adding a camera and animating it. I would’ve done the camera in C4D if the animation was more complex but this method was less of a headache for the 3D layers in AfterEffects.


&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/8d495bb62c72cb93cd849d45e9d717419abf72118cf655cc9f73f2e66e67c497/Eclipse-0-00-05-05_2.png" data-mid="161588073" border="0"  src="https://freight.cargo.site/w/1000/i/8d495bb62c72cb93cd849d45e9d717419abf72118cf655cc9f73f2e66e67c497/Eclipse-0-00-05-05_2.png" /&#62;


&#60;img width="1920" height="997" width_o="1920" height_o="997" data-src="https://freight.cargo.site/t/original/i/602ae4a7cd65bcd059944cc6c8351f20f8393b884d4f81bf89f1a405cb8ef741/Adobe-After-Effects-2022---D__VFS_Term-5_VALE_Vale-Ae_VALE_AE-2.aep-12_11_2022-12_21_59-AM.png" data-mid="161589508" border="0"  src="https://freight.cargo.site/w/1000/i/602ae4a7cd65bcd059944cc6c8351f20f8393b884d4f81bf89f1a405cb8ef741/Adobe-After-Effects-2022---D__VFS_Term-5_VALE_Vale-Ae_VALE_AE-2.aep-12_11_2022-12_21_59-AM.png" /&#62;
&#60;img width="800" height="450" width_o="800" height_o="450" data-src="https://freight.cargo.site/t/original/i/4e25d1a8f954ff393db85cd900c102709f2137b6ae4c699e39c5fca24adc8367/ezgif.com-gif-maker5.gif" data-mid="161589444" border="0"  src="https://freight.cargo.site/w/800/i/4e25d1a8f954ff393db85cd900c102709f2137b6ae4c699e39c5fca24adc8367/ezgif.com-gif-maker5.gif" /&#62;

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