Directed by Audrey Randazzo
Three Raccoons in a Trenchcoat was my Senior Capstone film. I acted as Technical Director on the film and oversaw modeling, texturing, lighting, and rendering.
Film's Website
Zbrush, Maya, Substance Painter
Clay is the only human character within the film. He is the gas station attendant who has to put up with the raccoon's hijinks. He was the first character I textured for the film, so his texturing style decided the final look for all the textures in the film. The art director wanted a painterly style with apparent brush strokes along with hard lighting that outlines the character. It was my job to bring this vision to life.
Concept by Madeline Brennan
Responsible for Modeling, Texturing, Lighting, and Rendering
ZBrush, Maya, Substance Painter
The three raccoons, Cash, Lennon, and Denver, are the main focus of the film, with Cash being the main character. Each raccoon needed to have the same base mesh to make rigging fast, but have enough variation to make them individually recognizable. I was able to create a pipeline that made modeling and texturing as speedy as possible but retain the quality expected of the film. Boiling each raccoon into its base features and amplifying them was the best way to keep them the same, yet different.
Responsible for Modeling, Texturing, Lighting, and Rendering
Responsible for Modeling, Texturing, Lighting, and Rendering
Responsible for Modeling, Texturing, Lighting, and Rendering
Maya, Substance Painter
The Stranger is the three raccoons in a trenchcoat. The clothes used to create the stranger all came from a dumpster so each piece had to be covered in hand-painted dirt and grime. The hard surface objects used for the stranger had to fit with the other polygonal props but still work with the organic nature of the characters. The stranger was a culmination of all the elements of the film and getting his look right was a fun challenge.
Responsible for Modeling, Texturing, Lighting, and Rendering
El Dorado, or the city of gold, is the name of the gas station where Clay works. It is also the location of the three raccoons' heist. The interior is vibrant and the stylization of polygonal items with painterly textures was a new venture that I was excited to take on. I oversaw 100% of the creation of the interior and provided tutorials and resources to craft the look dictated by the art director. I created stylized tileable materials that fit into the environment using Substance Designer. I then lit the environment to make each object pop without being too overwhelming.
Concept by Madeline Brennan
The Exterior of the film takes place in a vaguely American desert. Somewhere along Route 66, an isolated gas station stands. The vast environment proved to be a challenge but using MASH networks and a Skybox setup, we were able to create an environment large enough to convey the setting but condensed enough to allow for a smooth pipeline. We also didn't want our raccoons to feel swallowed by the environment, so utilizing forced perspective, we were able to make the small raccoons stand out against the large landscape.
Models by Ashleigh Jones, Responsible for Everything Else
Some of the materials graphs in substance designer that I created for the interior.
Arnold Renderer
The Stylized nature of the film required me to experiment with a variety of different lighting styles. I landed on using a hard outline on interior shots to add to the style of the film. For exterior shots, the light is softer, but includes layering of different colored lights to add intrigue to the overall look.
Responsible for Clay Model and Textures, Cash Model and Textures, and lighting. Rigs by Debora Fuentes Animation by Ramiro Lao
Responsible for Cash Model and Textures, Boot Model and Textures, Exterior textures, Set Dressing, and lighting.
Animation by Aaryan Junnarkar