SteamVR environment Star Wars Cloud City Catwalk (Rancor Viral April fool joke)

While not my best work, it was definitely my most successful April fools prank, it has received industry coverage in the form of an article on UploadVR, the article to date has over 169,000 views.

I created the Bespin/Cloud City catwalk, for SteamVR just as a quick introduction for substance painter for my students at Capilano University, and to start creating fun VR content.  My environment has become quite popular on the SteamVR workshop (in the top ten of most subscribed items).

On April 1st, 21,000 of my subscribers who put on their VR helmet got a giant 30 foot Rancor reaching towards them, the joke was popular enough that I created a separate download for people who enjoyed the joke, and could keep the Rancor in Cloud City.



Texturing primarly focused on the platform and the end of the platform as those are the areas the user can get to.


The user spawns on the middle metal plate on top of the platform, a challenge was establishing an eye line with Rancor because of how close and large he is to the user, subsequently the rancor is a little more hunched over than I would have liked.


The above is not the original Rancor used in the prank, but an updated and rigged model, I enjoyed the scale and presence of the rancor in VR so much that I updated the model and created the pit from Return of the Jedi.

Original Aprils fool Rancor model
The original rancor model was prototyped in VR, modeled, textured, rendered and integrated into steamVR in two days.

I used Maya to model and stage, substance painter/designer for texturing, and Arnold for baking the textures.

Virtual Reality Experience - Star Wars Rancor Pit

I'm really jazzed about VR, I think it adds a sense of scale and presence to video games that just wasn't achievable before.  Current games are starting to bring a good sense of scale to VR environments, but the characters right now tend to be human sized.  I created this VR experience from Star Wars Return of Jedi, to play with the presence of something massive coming into the users space.  (animated sequences will hopefully be added by the end of July)

A current destination on the SteamVR home application, and can be freely downloaded from steam workshop at http://steamcommunity.com/sharedfiles/filedetails/?id=949747869 steamVR is required to view the experience.

I used Zbrush, substance designer, substance painter, Maya and Arnold (to bake the lighting).  SteamVR uses the source 2 game engine.

All content was created by me (design of creature and environment taken from Return of the Jedi, by Lucas Film), animation for the rancor will be provided by one of my colleagues at Capilano University hopefully by the end of the summer.

The asset on Sketchfab, has all the specular/normal maps and lighting baked in, primarily for performance (for the webVR ui).







Current Projects

Blade






The overall goal of this project was use a Zbrush workflow as much as possible in the creation of the character and utilize as many new features in Zbrush 4 as I could. The color maps, sculpted surface details and UV layouts for all components were done in Zbrush. The meshes for the head, body, vest, pants, boots, pouches were also created entirely in Zbrush (including retoplogizing for a more animation friendly mesh).



Maya is used for lighting and rendering, and for the creation of a few of the meshes (buckles, ammo and the straps).



Pool Shark

What happens when you put a 16 foot Great White Shark in a 16x32 swimming pool?  we'll see.


Modeled in Zbrush 4r6, textured and rendered in Lightwave 11.6, compositing done in After Effects.

Admiral Adama

This is a bust I've done of James Edward Olmos as Admiral Adama for my portfolio and to learn Lightwave (this was my first project using that package).

I had an older used Zbrush for the creation and modeling of the base mesh, and then rendered in Lightwave 11.6 using fiberFX for the hair.  Post processing was done in After Effects.




Rift Concept Creature

I did this project for fun, it was based off concept work for the game rift (rift concept).

I sculpted the assets in Zbrush and used Maya to render, and finished the image in After Effects.






Monica Bellucci bust

The primary intention of this project was to create a photo real head that I could learn and practice Xgen grooming on, being from the game industry my hair experience is primarily poly planes with alphas.

The secondary objective was a creation of an algorithmic pore detail texture created in substance designer.  I feel I have achieved about 75% of where I want that material to be, the primary problem being the pore directional/grain of the pores

Modeled in Zbrush, Xgen in Maya was used for the hair/eyebrows/eyelashes and rendered with Arnold 5.  Substance painter and designer 2017 were used to create an algorithmic pore detail maps,  And painter used for the hand painted textures.  There are few blemishes on the face as I was going for a makeup look.





2012 Production Reel


Here is a compilation of work I had done over the last year and half, most of it being as a Motion, 3D and Interactive Graphic Designer at TBA Digital.

Kent Sunde Production Reel 2012 from kent sunde on Vimeo.

Shot List Breakdown

In all shots I was responsible for animation, rendering, lighting and modelling, in addition this is also what I had done
  1. Cancer Cell - Personal project done entirely by myself.
  2. Macrophage - Compositing, art direction, editing. particle effects.
  3. Fat Cells - Compositing, art direction, editing. particle effects
  4. GE Life Sciences Wave - Compositing of the 3D elements and text placement.  The animated text and lens effects were done by Barry Chapman.  Wave models provided by GE.
  5. Baxter Floseal - Compositing of the 3D elements, again Barry Chapman had done the text and lens flare effects.  Syringe model provided by Baxter.
  6. Philips Sonicare - Motion tracking and integrating the 3D elements into the video.
  7. Cell Wall explosion - compositing, art direction, editing, particle effects.
  8. Baxter Floseal - Compositing of the 3D elements, Syringe provided by Baxter
  9. GE Life Sciences Wave - 3D fluid simulation, Compositing of the 3D elements and text placement.  Wave models provided by GE.
  10. Fat under the chin - Compositing, editing, art direction.
  11. Ge Life Sciences Logo - compositing of the water enviroment, background particle effects.
  12. Baxter Floseal - Compositing of the 3D elements.  Syringe provided by Baxter, watch was an existing asset.
  13. Celebrity portraits -  Personal project done entirely by myself.