con­cept art as a ca­reer op­tion not re­ally em­bracede enoughh

pro­duc­tion paint­ings brought in right at the startm no di­rec­tor, no de­signer yet, they need im­ages to at­tract in­vestors, ring every­one on he same page, you do key mo­ments, keyframes from teh script

ghost in the shell ma­jor com­ing into a restau­rant scene (its ni tthe ytrailer)

a com­bi­na­tion of show ing the pro­duc­ers the de­sign­ers idea for a set

almpst en­tirely done in pho­to­shop, also stuff done in skec­thup, not as prescp­tiev as big­ger 3d pack­ages, it’s al­most like line art for you to work from, you’re ot too trapped in the ren­der

  1. buil a crude sketchup model, get ref­er­ence, find some good an­gles, dig­i­tal pho­tos ro get poses, in­clude found im­agery, dis­tort it and put it in the im­age works with ad­just­ment lay­ers a lot be­fore dig­i­tal you would do lin­eart, pho­to­copy on coloured pa­per and work on it with gaouache, marker

first tomb raider was the first crossover to dig­i­tal thre was never re­ally an ar­gu­ment about us­ing dig­i­tal

seys as a con­cept artists you can work in cos­tume, vfx, props de­part­ment, but hes mostly doen art de­pat­ment xom­bi­na­tion of nor­mal paint­ing, spe­cial brushes (eg leaves) pasted im­ages scorses pro­duc­tion de­signer a 3d nodel al­lows you to move around, find points of views, light­ing etc time wise it takes about the same as do­ing things ana­logue, you might be more pre­cise btu per­haps get more life ana­logue you can do dif­fer­ent color ways, scale pb­jects, slide a slider to make some­thing darker etd cap­tain amer­ica worked from pho­tos of an ac­tul dis­used cem­i­cal fac­tory tra­b­s­formed into hy­dra prison hy­dra lan­guage was al­ready es­tab­lished, quite or­ganic forms but also 1939

podium ren­der for ghost in the shell (podium be­ing the en­gine) can give you good re­flec­tions, lots of bro­ken glass, col­lage f space

bfg work with jim clay

car­ac­ter cos­tume worked in cos­tume for rogue one on big film like star wars you might be work­ing with a dozen other con­cept artists ni the art de­part­metn in cos­tume it’s only him ans tw cos­tume de­signer even in cos­tume you might draw a whole scene to get a sense for the place theres a tra­di­tion in sw of mix­ing world war 2 (the new hope www2 fly­ing caps , guns etc, com­bined with mdo­ern and his­tor­i­cal japan­ese clothes, unique ap­praches to tai­lor­ing), kit bash­ing for cos­tumes, you have to go back to clunky shapes

crea­tures many peo­ple spe­cialise in crea­ture de­sign, do it in zbrush back in 2001 it was drawugs, ma­que­tte, draw over pho­tos of he ma­que­tte prduc­tion mer­maids, hal cen­taurs where there is­n’t a breal be­tween the two body parts, same skin anay­omy etc

vfx work harry pot­ter soells etc more tech­ni­cal

props if the pro­duc­tion is smaller the con­cept artist might get to do a bit f every­thing big­ger pro­jects have their own con­cept artist just for the props de­part­ment hp stuff ex­o­dus

mezolith comic stone age dreams and night­mares 10000 years ago when en­gad was joined to the rest of eu­rope, just be­fore agri­cul­ture ben hag­garty no money in it good to get back to jst draw­ing a fig­ure, whereas in film work thre might be a lot of photo bash­ing, mod­el­ling etc re­search you look at hunter gath­eresrs that still ex­ist to­day book of eary man this hun­gar­ian dude who did early man paint­ings joseph cambpell on sto­ry­telling