Thomas Mouraille

Matte Painter / CGSupervisor

Thomas Mouraille | Showreel_2014

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0:03-0:13

Guardians of the Galaxy

Lead DMP-Environment on

This shot was originally a set extension but because of a complete new camera framing and animation, we had to make it fullCG. We created huge arches models taking sea coral rocks as references. We cleaned with ZBrush the lidarscan of the original set and we split it in order to create a collection of pinnacles and various kit of pieces of ground.
0:14-0:18

Guardians of the Galaxy

Lead DMP-Environment on

We created the temple interior in fullCG. The same environment has been used for all the interior sequence, without DMP touch up. We started by creating various assets such as columns, kit of grounds with rubble, square pillars, ceiling modules, corals and other mushrooms. For the column, we used once again the photogrammetry technique.
0:19-0:20

Even if in the final edit this fullCG shot is really short, it required a lot of work. We started using lidarscan pieces of the original set to layout the destructed wall. Then we setup a projectionCamera and rendered one frame of it in order to give us a base of work for the DMP.
0:20-0:22

Guardians of the Galaxy

Lead DMP-Environment on

For these fullCG shots, we created the temple exterior in DMP, starting with a base model geometry. We used references of various old ruined temples to made it and added extra corals, rocks and moisture details to make it part of the same environment. Once again, we used multiple DMP to cover the camera animation over the ground.
0:22-0:24

Guardians of the Galaxy

Lead DMP-Environment on

On this shot, we started to use the library of assets build previously to layout the set extension. Once done, we made a DMP using the Egypt desert rocks references for the closest structures. Various references of canyon and cliff have been used for the landscape in the Bg.
0:24-0:26

Guardians of the Galaxy

Lead DMP-Environment on

For this fullCG shot, we had to recreate the set location from the lidarscan in order get a plate that we did not have for this shot. We made the DMP using the set photos of the original set. We created it overcast in order to let it be lit by the thrusters of the starship.
0:26-0:33

Guardians of the Galaxy

Lead DMP-Environment on

For these shots, we had to create a gigantic crater with blades of rocks on the contour to illustrate the strength of the impact. We used worldmachine in our workflow to extract erosion and color map on our models. We then recombined them in a triplanar texture projection shader on VRay. We finished by populating pinnacles all around to add extra d
0:33-0:42

Guardians of the Galaxy

Lead DMP-Environment on

On this final shot, we created the sky in DMP with 2 projectionCamera and multiple layers of clouds. We created the gigantic corals in 3D using natural coral as reference and rendered with VRay. The challenge of this shot was to give enough details informations to keep the scale of the scene.
0:43-0:51

World War Z

Lead DMP-Environment on "World War Z"

For this sequence we built a giant wall asset and all the outside environment made of destructed buildings and ruins. We modeled and textured the wall, but the final look has been done in DMP in order to keep flexibility on a shot by shot basis. For the ouside environment, we created a layout with basic assets of ruins, rubble and little houses.
0:51-0:55

World War Z

Lead DMP-Environment on "World War Z"

On this shot, we had to replace the sea area with multiple buildings to extend the city. We used photos of Malta to create the DMP in multiple layers to cover the parallax of the shot.
0:55-1:02

World War Z

Lead DMP-Environment on "World War Z"

This shot has been a real challenge for us. The original shot was composed from 2 different plates: one with the hero Z running on the second roof and stopping at the wall, an other one with a cameraRig diving between the 2 buildings and stopping close to the grid where Brad Pitt tries to escape.
1:07-1:13

World War Z

Lead DMP-Environment on "World War Z"

All the airport shots have been shot on the old abandonned Malta airport. We added the Atarot Terminal in DMP. We built the model from photos references of the Malta airport. Then we made a DMP of it on a shot by shot basis, from a basic grey shader render done with mentalRay. On this shot, we shifted the takeoff runway for a composition purpose.
1:13-1:18

World War Z

Lead DMP-Environment on "World War Z"

This shot is part of the epilogue sequence. We had to create a flatland from scratch. We made a couple of concepts to offer various layout to the director. Once we got one approved, we started to create it in CG with simple volume. We layout the scene and used a lot if different references to create the DMP.
1:18-1:24

Harry Potter and the Deathly Hallows: Part 1

DMP-Environment Artist on - Harry Potter

We created multiple DMP to cover the entire environment of this shot. I was in charge of two of them and also the management of the 3d master scene. I created the projectionCameras and made the low res models of all the vegetation for the DMP reprojection. All the bushes and trees are projected onto their own geometry.
1:24-1:36

Harry Potter and the Deathly Hallows: Part 1

Environment-DMP artist

I made the layout of these environments and created the DMP using photos references of real pylons fields. We projected all the DMP layers onto meshes to keep the parallax and to be able to lit it properly for the lightnings and reactor interactions.
1:36-1:39

Wrath of the Titans

Environment Artist

This is an animated concept made for Tartarus sequence. I made it in an early stage of the project to block the look of what Tartarus should look like. I reprojected the DMP (made by the concept Artist Olivier Pron) in nuke, added different elements to give more life (lava, smoke, dust, waterfall, eruption).
1:40-1:43

Sherlock Holmes: A Game of Shadows

Environment Artist on "Sherlock Holmes:

For this sequence we had to recreate London streets. We used photos references of London. We modeled and textured the street roughly based on a photoModeling UV technique. Then we fixed the stretches in DMP. We shaded the metallic props to get the specular animation on it.
1:43-1:45

Skyfall

DMP-Concept Artist on "Skyfall"

I worked on the old house augmentation concept. I made a couple of version of it. The director wanted to give more history to it. I added broken tiles, bushes, dirt, moss, cobblestone on the ground.
1:45-1:47

Guardians of the Galaxy

Lead DMP-Environment on

This shot is part of the XandarMallFigth sequence. We had to create the buildings and the vegetation of XandarCity all around the Mall. We started it with a DMP ciclo approach but because of the lack of control on the lighting we finally rendered all the shots with a fullCG city on the background. We used Vray and its proxy feature to layout the bu
1:47-1:49

Guardians of the Galaxy

Lead DMP-Environment on

For the final battle sequence, we made the set extension of the crash site. We started the layout of all the sequence by scattering pieces of the original lidar of the DarkAster. We created more modules to add pattern and size divertisty. We added buildings and trees used previoulsy for the XandarMall sequence.
1:49-1:53

Maleficent

DMP-Environment Artist

I got the opportunity to work on the mud fight sequence of Maleficent. I had to create the set extension on few shots. I used photos references of real river coastlines and old large trees shot in the Richmond Park of London.
1:53-2:05

Pirates of the Caribbean: On Stranger Tides

DMP-Environment Artist on Pirates of the Caribbean

This sequence takes place on the beach just after the mermaid attack. I had to make the destructed lighthouse after the explosion of the roof. A design of it was already made by the conceptArt Department. I built a proper model with split geometry for the stairs and all the other parts in order to avoid stretches and echoes with the projections.
2:05-2:13

Pirates of the Caribbean: On Stranger Tides

DMP-Environment Artist on Pirates of the Caribbean

This shot was made with multiple plates. I used the tracking of the first plate as a base. It was decided to recreate the plate in fullCg with projections for all the elements (bones hands, map, magnifier). I made the DMP and projection setup with nuke.
2:13-2:19

Pirates of the Caribbean: On Stranger Tides

DMP-Environment Artist on Pirates of the Caribbean

On the original footage, the waterfall was not high and dangerous enough, so we had to recreate it from scratch. I used photos references from the set and the original plate to recreate the cliff with multiple DMP. I also added rocks in the arrival pond in order to make it even more risky.
2:19-2:28

World War Z

Lead DMP-Environment on "World War Z"

we created Cg buildings and props from Malta photo references and we made the layout accordingly to the hybrid Jeruslame-Malta map.
Then we created simple textures for all the models to get a base texture for the DMP. We setup multiple projectionCamera in order to cover the huge renderCamera animation
2:28-2:38

World War Z

Lead DMP-Environment on "World War Z"

We used photos references from Malta and Jerusalem to make the DMP. Once this principal DMP reprojected, we setup few others projectionCamera in order to fix echoes and stretches issues on the buildings.

Comments (3)

Tony Andreas Rudolph Amazing work!

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Thomas Mouraille thank you Tony! It is appreciated mate.

524w
James Bennett What a fantastic reel breakdown. So much bg information. Turns a great reel into an amazing one.

524w

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