I modeled the entire MEKA base interior, and every props, set pieces that goes into the environment alone. Mech workstation, Nanocola, operating room, helicopter, scaffolding... a lot of stuffs. I also modeled some of the modular city assets and blimp for Digi matte painting as well.
Yet this was another special show to me to participate in because this fictional event happening based on my home country. muhaha : )
(I'm actually from Seoul not from Busan but, I'm still thinking it would have been more cute if she speaks in Busan dialect in some of her dialog.)
Anyways many thanks to Vasili Zorin, Manuel Augusto Dischinger Moura, Jungah Lee, and Yewon Park for awesome concepts.
Also many thanks to Craig Chun, Toni Bratincevic, Shannon Thomas, Claver Knovick for great support!
Helping Creative development team, design / modeling of the ship.
Participating early development concept design stage for Alliance war machines, modeling the entire Siege tower ( exterior / interior ), Ballistar, alliance hand weapons for army. I helped building the base model of the Lordaeron castle, and every castle domes for matte painting team, modeling / sculpting of the "World of Warcraft: Battle for Azeroth logo in English / Chinese / Taiwanese, combination of Alliance and Horde themed decorative frame.
Modeling the compass, a lot of props inside tavern environment,
entire entrance of the tavern, human game board base and all the miniature buildings around four corners, hearthstone cards, fire place, Staff of the Origin, goblin's axe, and sword, etc.
Modeling cinematic quality of Eichenwalde environment, hover van, etc.
Modeling cinematic quality of Antarctica communication tower, helicopter, workshop environment, etc.
Modeling cinematic quality of giant robot arm, entire catwalk modules, exterior factory, small turret, etc.
Modeling cinematic quality of hero tree, broken nest and set dressing, battle field, drop ship, drop pod, etc.
Click to view larger image above
Alliance Helicarrier – concept by Charles Lee. I was the main modeler for creating this work. Majority of the modeling, detailing, and destruction mesh work was done by me. The model was completed with the help of 3D artist Laurent Pierlot, who sculpted the Golden Eagle Statue , and Yongha Hwang.
Craig Chun and Chad Fehmie modeled the props on the ship deck. I also modeled the entire human water ship and the Gnome's Gyrocopter. : )
Modeling of Gibralter, Mexico environment set. (above)
Modeling cinematic quality of Payload truck, custom bakery set, bell tower, craters, and a lot of props. (above)
Modeling cinematic quality of exterior Dojo, Shrine, Bell temple, City gate. (above)
Design and modeling of opening shot environment including spiderweb, custom building exterior & interior, london building modules, chimney modules, and lots of props. (above)
Modeling of entire Observatory set, Baby Winston room set & toys (based on the concept by Tae Choi for both of environment set.) Also, the Shield generator, and many other prop modelings for the show.
Art directed by Mathias Verhasselt, Project directed by Ben Dai, CG supervised by Shimon Cohen.
StarCraft II: Legacy of the Void was the first pre-rendered cinematic project I participated in for Blizzard Animation.
It was particularly special for me, as I have been a long-time Starcraft fan. :)
I was the replacement of an incredible 3D modeler, Takuya Suzuki. Many thanks to him for letting me continue working on this project. I have had the advantage of being able to use his premade architectural kit bash pieces and prop sets. I worked on all of the abandoned Protoss architectures (every environment hard surface assets). Oftentimes, many of my work was recreated upon awesome matte paintings by Anthony Eftekhari and Fabio Zungrone. It was a great experience to be able to work with Toni Bratincevic, who led the environment modeling for this project. Finally, I would like to express my thanks to Seth Thompson, Laurent Pierlot, and Ivan Joy. Working with them has been thoroughly enjoyable.
Art directed by Jonathan Berube. Project directed by Ben Dai.
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