Bryan Bode

It was the 11th hour, all hands on deck with just two months left to release this monster project. I was fortunate enough to have played a part in getting Deadpool & Wolverine ready for it's cinematic release. 

My primary focus was shot sculpting. A few of my favorite shots include: 

In the opening sequence as Deadpool bears the claws of his beloved dead friend Wolverine, the camera slowly pans around him as he remains frozen in time. This was a complete digital version of Deadpool that needed an 'upres' to help give him his brooding muscles, wrinkles, and other details.  I completed a large sculpt update to his entire costume, giving him a larger-than-life muscular physique that was lost in animation. 

One of  the  larger sequences my teammates and I focused on was when Cassandra Nova dug her fingers through Paradox's head near the end of the third act. There was a ton of work to make the effect and connection points feel believable. I felt more like an animator than I ever had before completing several of these shots as we corrected the fluidity, timing, and look of Pardox's skin.

My final favorite shot includes the most loveable character in all of Deadpool and Wolverine, Dog Pool. While it was rather quite simple. I helped give Dog Pool a friendly, happy, smile with shot sculpting. But it helped to sell the moment as he reunites with Deadpool.

It was a pleasure bringing this light-hearted family comedy to life as Lead Modeler. Leading a team of 6 artists, we endeavored to bring the imagination of John Krasinski to reality in the form of an eclectic cast of characters and sets.

Creating well over a dozen characters with various points of importance. A few of my personal favorite hero characters include Blue played by Steve Carell, Louis played by Louis Gosset Jr., Unicorn played by Emily Blunt and OctoCat played by Blake Lively. 

Spending a good amount of time working with the production and supervisor teams, I really focused on creating a great working environment for my team. It was very important to me to set an effective schedule, create achievable deadlines, and have a productive asset review pipeline.

I was fortunate enough to work on several characters including Louis the Bear, Dino, Tape Guy, and many others.

The Fall Guy, a movie about the unsung heroes of action movies, the stunt man. But what do they do when the stunts are actually too dangerous for the stunt man? They bring in computer nerds like myself! 

I built the hero digi-double forColt Seavers, the star of the show, played by Ryan Gosling as well as his best friend and stunt companion Jean-Claude, the dog. 

The Colt Seavers digi-build followed the traditional pipeline which included photogrammetry, a complete mesh build for his costume, and body update using Wrap3D and Zbrush.

Jean-Claude followed a standard creature update as I started with a different base dog mesh and completed a full sculpt update to match the look of the stunt animal using Zbrush. 

Wonka, the greatest chocolatier of all time.

I really enjoyed my time on Wonka helping to flesh out the Zoo set for the 'For a Moment' sequence between Wonka and Noodle. It gave me an opportunity to spend some time doing hard surface modeling. 

Using vintage and modern photo references of various European buildings, I modeled two buildings and a carousel from scratch.

The first building on screen right was a mix based on the London Blackburn building and the Dublin Zoo elephant house. 

On screen left you'll find the second building I built based on the Berlin Zoo Antelope house. And lastly the Carousel in the middle. 

The greatest story of a boy who wouldn’t grow up, alongside his band of cohorts retold for a new generation.

I had the immense pleasure as the visdev modeler for the giant crocodile and nemausus to Captain Hook, Tick Tock. He received an ample amount of time and attention in sculpting and went through many iterations to find the exact look Disney was looking for. Later on after completing Wendy’s build I returned for the final detail pass alongside a fellow modeler.

Take a peak of Tick Tock in action starting at frame 1:48 of the official trailer!

My other hero character for Peter Pan and Wendy was Wendy! Wendy was one of the three most hero digi-double characters with the top spot belonging to Tinkerbell. She got the full highres digi double treatment for her body and costume. This also included a full set of facial shapes and sculpting.

In addition, I worked on many of the Lost Boys digi doubles. These characters include Tigerlilly, Tootles, Nibs, and the Twins.

From Philip Pullman's epic His Dark Materials fantasy trilogy comes this compelling HBO Original series that follows young orphan Lyra on an incredible adventure into a parallel world where a human's soul exists outside one's body — in the form of a talking animal.

As a Lead Modeler at Framestore, I oversaw a team of 7 artists and focused on bringing the best modeling assets for His Dark Materials season 3. I provided regular reviews and constructive criticism while acting as an advocate for the artists in daily review sessions with supervisors. I managed artist schedules and provided task estimates for line producers. Additionally, I held tri-weekly meetings with artists to provide updates, news, and critiques, as well as training and assistance in modeling techniques and pipeline procedures.

During my time on HDM, I played a key role in the development of the Harpy creature by collaborating closely with supervisors and artists to help focus the team's efforts. I managed task priorities and scheduling while training artists in facial modeling. I also stepped in to assist the artist in creating high-target challenging shapes for the Harpy and offered constructive criticism to achieve the vision of the VFX supervisor and creature supervisor.

I contributed to many other character models, set and props for the series. I created a highly detailed hero digi-double for Lord Roke, complete with a highly detailed costume for many important flying shots. Additionally, I modeled a hero digi-double for Mrs. Coulter that featured two unique uniforms. I also modeled several background army digi doubles and made modifications and updates to numerous other characters throughout the series. Beyond character modeling, I played a pivotal role in developing a large variety of props for the Asriel Army camp set.

Overall, my goal was always to maintain a high morale and enjoyable work experience for everyone while achieving the director’s creative vision.

It was an absolute thrill working on my very first Marvel Film, Shang-Chi and the Legend of the Ten Rings, at Scanline VFX Montreal. I had the opportunity to work on several high level sculpting tasks.

I was heavily involved in the early sequences of Shang-Chi. Specifically in the bamboo forest/Moon Gate environment where you first meet Shang-Chi’s mother and father.

Xu Wenwu - The Mandorin - Hero Gi/Uniform.

I was first tasked with creating the Mandorin’s white hero uniform seen while he danced battled his future love, Ying Li. This was an important piece as it was used in high level cross-over shots.

While following a traditional scan oriented digi pipeline, I spent a large amount of time sculpting further detail to better match the reference and bring the shot to life.

Red Kapok Tree:

As Wenwu finally reaches the Moon Gate, in the distance you see a beautiful red Kapok Tree.

Originally based on a low res digital scan. The Kapok Tree was reimagined by the director to better resemble a bonsai tree. Based on his direction I sculpted a new version in zbrush. Retaining much of the detail I had previously sculpted; I added bones, reshaped, and sculpted the final version you see.

VFX Breakdown: 1:21

Bambo Forest Ground:

In order to reach the Moon Gate you must first dare to challenge the movable bamboo forest.

This was quite a lengthy sculpting task to create a believable forest floor that would feel real as both vehicles and bamboo trees moved along it. I sculpted a huge geo piece adding both the medium and high detail. There was an additional sculpting pass to add large divots and crevices into the ground as the vehicle passed over.

Several examples can be seen through the VFX breakdown.

It was so much fun working on one of my all time favorite childhood cartoons!

During this project I did a wide variety of tasks. The majority of my time was spent in the character department at the Framestore Montreal. My tasks included sculpting characters from scratch and updating existing ones, creating new topology, and sculpting facial expressions for a large number of characters.

Additionally, I also modeled a large variety of hard surface objects for a meticulous mouse trap scene, as Tom endeavored to catch Jerry.

In the mouse trap sequence to the right, all the objects from the shirt up were completed by me.

The Midnight Sky, directed by and starring George Clooney.

This post-apocalyptic tale follows Augustine, a lonely scientist in the Arctic, as he races to stop Sully and her fellow astronauts from returning home to a mysterious global catastrophe.  

I had the pleasure of working in the creature modeling team for this project at the Framestore Montreal. I was tasked with sculpting the hero arctic wolves seen throughout the movie. Additionally, I completed the necessary facial shapes needed for the shots. 

Arguably, the greatest and most beloved human-cat hybrid movie of all time. I had a blast working as a Senior Character Modeler on Cats. My primary focus was on digi-double creation, musculature and detail sculpting, and FACS facial modeling. 

I worked on a total of 7 characters. My 3 primary body sculpt characters were Skimbleshanks, Rumpleteazer, and Mungojerrie. My 3 primary FACS facial sculpt characters were Mungojerrie, Admetus, and Electra. Minor sculpt updates were done to Tantomile and Griddlebone. 

Rumpleteazer (Brown and White Female Cat) 
Official Trailer Two: 0:04, 0:44, 0:46
Official Trailer One: 0:35, 1:49

Digi-Double creation, sculpt updates to ears and tail, sculpted musculature in (chest, abdomen, back, legs) that were occluded in scan, topology. 

Mungojerrie (Brown and White Male Cat) 
Official Trailer Two: 0:22, 0:44, 0:46
Official Trailer One: 0:38, 1:38, 1:49

Digi-Double creation, sculpt updates to ears and tail, sculpted musculature in (chest, abdomen, back, legs) that were occluded in scan, topology.

FACS facial modeling. 34 base shapes plus combinations. 

Skimbleshanks (Orange and White Male Cat with red pants) 
Official Trailer Two: 0:37
Official Trailer One: 1:35

Digi-Double creation, sculpt updates to ears and tail, sculpted musculature in (chest, abdomen, back, legs) that were occluded in scan, topology.   

Electra (Brown Female Cat) 
Official Trailer Two: 0:54

FACS facial modeling. 34 base shapes plus combinations.   

Admetus
FACS facial modeling. 34 base shapes plus combinations.  

Tantomile
Body sculpt updates.

Griddlebone 
Body sculpt updates.  

I modeled the hero “pirate” moon rover seen in a pivotal action sequence for Ad Astra at Method Studios.

A story about an astronaut that travels to the outer edges of the solar system to find his father and unravel a mystery that threatens the survival of our planet.

You can see the finished sequence to the right.

At Method Studios Montreal I was tasked with modeling the hero SLS Rocket for the premiere episode of Hulu’s, The First, staring Sean Penn.  Having been provided a low-poly mesh to use as scale reference and limited reference imagery; I modeled the rocket from scratch in Maya.

Method Studios graciously provided me with the final VFX shots and I have combined them into a short reel.

IMDB

I worked on Love, Death + Robots very early on the project. I was given a few sketches for the futuristic building sequence of episode 16, “Ice Age”. Based on those sketches I was tasked with modeling the initial buildings as well as conceptualizing and exploring new building types and populating the city based on the shape language the director desired.

You can see the finished sequence to the right.

Paramount Animation presents Rumble.

In a world where giant monsters and humans collide, the monsters are superstar athletes and compete in a popular professional wrestling global sport called Monster Wrestling. A young girl named Winnie seeks to follow in her father's footsteps as a manager by coaching a lovable underdog yet-inexperienced monster named Steve. Winnie plans to turn Steve into a champion so that he can go up against the reigning champion Tentacular.

I did a wide variety of sculpting and modeling tasks for Rumble. I had the great opportunity of visdev sculpting several characters; including Winnie the star of the show. In addition to characters, I built Winnie’s interior apartment set piece and many other hard surface vehicles and objects.

The Star was the very first Feature Animated movie I had the opportunity to work on, and truly a dream come true. I was beyond blessed to have had the opportunity to sculpt many of the characters throughout the film. Below are a few of my favorites.

Dave the Dove is the co-lead character and seen throughout the entire movie, and my personal favorite.

I was provided a mesh for scale reference, however I rebuilt and sculpted Dave in Zbrush. I completed his topology in Maya.

Leah the Horse is a primary character seen in the last act of the movie.

I was provided a mesh for scale reference, however I rebuilt and sculpted Leah in Zbrush. I completed her topology in Maya.

Melchior the Wiseman in blue is a secondary character seen throughout the movie.

I sculpted Melchior in Zbrush using an existing base mesh to maintain matching topology and Uv’s for our character pipeline.

I modeled all of the clothing items and completed any needed correction to the topoloy in Maya.

The Chamberlain is a secondary character. His base mesh was also used for the Inn Keeper and other background characters.

I sculpted the Chamberlain in Zbrush using an existing base mesh to maintain matching topology and Uv’s for our character pipeline.

I modeled all of the clothing items and completed any needed corrections to the topoloy in Maya.

The Shepherd is a background character seen throughout the movie in various hair styles and clothing.

I sculpted the Shepherd in Zbrush using an existing base mesh to maintain matching topology and Uv’s for our character pipeline.

I modeled all of the clothing items and completed any needed correction to the topoloy in Maya.

I really enjoyed the VFX character pipeline and workflow at The Mill Film and wanted to create new work for my portfolio based on these methods. 

What you see here is my brand new female character. She is a composite of many separate elements. At work we used very high resolution photogrammetric scans which limits the amount of clean up and re-sculpt. 

Unfortunately, the scans I had available were very mid-level. The original head, hands, and feet were unusable. I was able to acquire new high-res head, hands and feet and spent time in Zbrush merging, sculpting and posing the new components so they would be completely seamless. 

My next step was transferring a new clean base topology. I've found that Wrap 3.0 does an amazing job with this. Upon wrapping I went over the entire model making sure the topology was laid out correctly. At this time I would do further scan clean up, sculpting, and projection.

For the shirt and shorts I used Maya's quad-draw when efficient and would typically bring the elements into Zbrush for further work. The shoe scans were quite damaged but I was able to use them as a reference point and create the new shoes from scratch. The hat was also built from scratch based on photo reference. 

The male character was another fun project. He had the same story as the female model. The original head, hands, and shoe scans were unusable.

I followed the same workflow as the female character.

Inspired by little Anna from Disney's Frozen. I created my version as a Girl Scout.

I sculpted the face and body from base sphere primitives in Zbrush, and modeled the clothing using Maya where I completed the final topology. 

I modeled the Garbage Truck from scratch in Maya using image reference that I took myself.

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I modeled this entire scene from scratch in Maya. I used several sources of image reference for the 1980 Ford F150 and Gas Station.

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The last video game I worked on was a hard-core RTS called, Grey Goo. I was the Lead 3D Artist tasked with setting the look for the 'Beta' race faction.

I modeled the original real-time Beta HQ inside 3DS Max. Using this as proxy model for scale I remodeled this new high-res version in Maya from scratch.

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I modeled the Ghost Buster’s Proton Pack from scratch in Maya. I used both blue prints and images of the actual movie prop for reference.

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