Charles explains of the film’s hero: “I wanted Tergo to feel like he had been wandering the dirty city for many years and that he had accumulated and was encrusted in layers of grime and dirt.” As a 3D artist, he uses MARI professionally so it was a natural choice for him in achieving this look.
Charles describes how being able to paint directly onto the 3D model improved his workflow: “when working in a three-dimensional space I want to see the asset I’m working on in all three dimensions," he says.
"The layering and isolating of complex textures meant I could create more realistic shaders in V-Ray. The complexity you can achieve building up projections on projections and mask upon mask whilst running off the GPU, giving you real-time feedback, is fantastic.
“The introduction of V-Ray’s shaders meant I could bypass the old back-and-forth workflow and stay in MARI until I was ready to go into lighting. It’s the streamlined process that every artist desires – less time waiting, more time actually working.”
Experimentation is a guiding principle of the collective, with artists from around the world contributing their time for free to realise this project. Pallas Pictures’ manifesto lays out their commitment to realising ambitious projects rapidly and without relying on raising money – so Charles has also benefitted from the new non-commercial version of MARI.
Watch TERGO below.
If you’re interested in discussing software licenses including MARI, talk to Nick Mathews.