12: WGE MAG


WGE MAG: 13


MAYA REFERENCING: The first thing we do is using references from the footballer in this case that we are going to model to try and get a good match with the real proportions. From each photograph I just paid attention only to some details, as it was difficult to find pictures of Drogba posing with the same expression in different angles.


Fancy a Modeling Career? M


How to create a realistic model by Rafeal Zabala


y name is Rafael Zabala and I was born in Valencia, Spain. Since I was little I have been attracted to art, in particular,


human anatomy.


As a child I would draw everywhere until one day I felt it necessary to start materializing these images in three dimensions. When I was about 24 years old I started my professional career as a traditional artist, which went on for over 15 years as a traditional sculptor, mold and casting technician . I worked in resin, bronze and marble, covering private work and commissions such as sculpting busts or exhibiting in galleries. I also took on public commissions like statues or the Captain Scott monument in Cardiff Bay, Wales, which I made for the designer Jonathan Williams.


About two years ago I decided to change my career from a traditional artist to a CG artist. I practiced with a modelling program which I luckily discovered called Zbrush and produced a few pieces. I then printed these in leaflets together with some traditional work to take with me to the CG


“I enjoy the benefits of combining the skills of a traditional sculptor and a CG modeller and take advantage of the potential that those two have together nowadays in the entertainment industry.”


convention ‘Mundos Digitales’ in Coruna, Spain. There I was lucky to meet Jordi Bares, at the time head of 3D at ‘The Mill’, London. He saw talent in me and gave me the opportunity to go and work for them. I have now been working there for a year and a half and I love every single thing about The Mill and the CG world. I am very grateful to Jordi Bares for having put so much trust in me and all the people I work with for their support.


My current role at work is mainly modelling and texturing Characters for Cinematics and publicity. I also freelance teaching anatomy and modelling techniques in my own time for different clients. I enjoy the benefits of


combining the skills of a traditional sculptor and a CG modeller and take advantage of the potential that those two have together nowadays in the entertainment industry.


Our CG team worked very closely with the Sky director Justin Bates, to help bring the sequence to life. One of the most challenging aspects of the spot was the modelling and texturing of the individual players themselves. Using zbrush to fine tune and sculpt the characters details we were able to create extremely detailed realisations of the world’s top footballers. The final composite was then digitally graded in baselight by Mick Vincent to add the finishing touches to the final film.


To view the final sequence in video visit:


http://bit.ly/pDM3AH (Youtube Video user uploaded content- WGE claims no rights to this video nor had any involvement in its uploading or creation)


CREDITS Agency: BskyB Producer: Nick Canham, Sarah Cloutier Creatives: Justin Bates Director: Justin Bates Post-Production / VFX Company: The Mill VFX Producer:


Lucy Reid


Shoot Supervisor: Tom Bussell 3D Lead Artists: Tom Bussell 2D Artists: Darren Christie, Pete Hodsman Art Department: Jimmy Kiddell, Ian Wharton


SKY SPORTS PREMIER LEAGUE. TITLE SEQUENCE Sky Sports kicked off coverage of the new Barclays Premier League season in 2010/11 with a follow up of our stylised animated intro sequence, featuring some of the game’s biggest stars.


Designed and directed by Sky Sports’ creative Justin Bates, the sequence cleverly blends animated game footage of Tottenham’s Jermain Defoe, Arsenal’s Robin van Persie and Manchester United’s Wayne Rooney through seasonal weather and lighting changes. It culminatess with Didier Drogba kicking one of his trademark drives into the back of the net.


ZBRUSH HIGH POLI MODELLING:


After I had a good match I took the model to zbrush. Then I subdivided to almost 2 million polis and start adding detail to the model. I still use at this point references but with a bit more artistic input into the modelling.


DROGBA TEXTURED:


After I finish the model in zbrush I produce and export the maps that are going to be used later on by the team of textures.


ZBRUSH MAPPING:


Then it comes the texturing using also photoshop which in this case it was done by another team of people that textured and rendered each model.


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