0

Diego Velasco-De Armas demo reel intro

Designed and animated by me in After Effects.

1

Blur cityscape Globograph, 2000

Completely done by me in 2000. Based on a concept by Ernesto Solis. This was a pitch for Globo Television, and was supposed to be a fully 3D movie entitled "Blur". The idea was ahead of its time, too bad it didn´t come to fruition.

2

GM picnic Clan vfx, 2018

I did a matte painting for the trashed part of the shot, and projected it onto some tracked 3D geometry. On top of that, I placed extra rocks, scanned debris, and 3D plants.

3

Toddynho Trattoria di Frame, 2001-2003

The scene was based on a concept by Eduardo Schaal. I did most of the modeling, texturing, shading and lighting of the scene, as well as all the rigging, and the animation. The fire effect was made by someone else, in comp. Most of the foreground elements (guitar, poney, monkey, skate, helicopter, hammer, and duck) were modeled by someone from my team, then integrated into the scene by me.

4

Toddynho Trattoria di Frame, 2001-2003

I did most of the modeling, shading, and setup of this scene, with the help of our junior 3D artist, who also provided a couple of elements. I did the rigging of the foreground hands, but the animation of the foreground was done by an animator. The chocolate fountain in the background was done by another artist. The comp was done by me, too.

5

GM Rio park Clan vfx, 2018

I did a matte painting for the trashed part of the shot, and projected it onto some tracked 3D geometry. On top of that, I placed extra rocks, scanned debris, and 3D plants.

6

GM Salvador Clan vfx, 2018

I did a matte painting where I cleaned up the background image, and then reprojected that onto tracked 3D geometry. The original footage was unusable, the buildings are completely run-down and dirty. I modeled the two visible structures, but the shading was done by another 3D artist, along with the foreground elements. I also modeled and animated the train. I rendered the background in Maya, the rest was done in Max. Rotoscoping was done in india, and the comp was done by a flame artist.

7

GM Salvador Clan vfx, 2018

I once again was responsible for the background, and the modeled structures and the train. BG was rendered in Maya by me, the rest was rendered in Max by another artist.

8

Café Três Corações La Matta / Mosh Post, 2017

I designed and modeled the wings. I also textured and shaded them, and lit them in every scene (there were many). Animation, tracking, and comp was done by other artists. The fur on the top of the wings was done by Marcelo Pasqua.

9

Pepsi Sereias La Matta / Mosh Post, 2017

When I started this job, there already was a textured model of the tail, but we agreed that it needed to be redone. I redesigned the tail, and redid the model, and the textures/shaders. I then lit it in two scenes. Animation and comp was done by other artists.

10 11 12

Café Três Corações La Matta / Mosh Post, 2017

Shots that I lit, with the wing that I modeled, textured, and shaded copied and tracked onto the actors.

13

Pepsi Sereias La Matta / Mosh Post, 2017

I lit my fish tail on this scene as well. The fish and the comp were done by Mosh Post.

14 15

Café Três Corações La Matta / Mosh Post, 2017

Two more quick shots that I lit, with the wing that I modeled, textured, and shaded tracked onto the actor.

16 17

Honda Magic Seats Big Studios, 2017

I did all of the scenery, but it looked somewhat different. In my version, it had a lot of xgen shrubbery, grasses, and flowers. It was a lot more chaotic. Also, it was a sunset scene, with a background that I painted. Hopefully I will one day be able to find, or re-render, the original version that I did, and update my reel. For now, these will suffice.. though the sky, colors, and shrubs are different. Still, the lighting and scene setup are the same. The car was provided by honda, and the character was made by another artist.

18

MEC Balões Oca Filmes, 2005

I was mostly responsible for the background characters in this scene. In fact, I used all of the 14 hero characters that the team modeled for the spot, and created a script that could randomize skin color, ethnicity, facial expressions, adornments (bracelets, hats, backpacks, glasses, earrings, etc. with varied colors), choose one of 20 pre-made animations (done by the team’ s animators), and clothes (with a few rules for matching, and gender). Cadu helped me with the facial animations and the facial rigging. I helped rig the bodies, which were rigged with The Setup Machine. The end result of the script was an endless variety of small looping (30-50 frames) animations that could be pre-rendered with the scene’ s lighting, and then used as sprites to multiply the crowd. Since they were pre-rendered, the final scene had minimal overhead (in fact, it could play back in real time, even with 10000 people).I probably did the grass on this scene, as well.

19

MEC Balões Oca Filmes, 2005

I co-directed this spot with Guilherme Alvernaz, and acted as TD. I decided to do a number os shots using projection mapping of the original concepts to get the needed parallax effect. We avoided a lot of modeling with this, and were able to complete the spot in the allotted month-and-a-half. The balloon was modeled by the team. I set up the scene with projection mapping, and made the clouds with Maya fluids.

20 21

Onde Esta a Felicidade? (film) Oca Filmes, 2013

I did a script that would create 8 different types of random fireworks, as well as add their light contribution to a color layer, to be used as an overlay on the church. The fireworks also created smoke, which was carried away by the wind. The smoke was done with sprites, and not fluids, for lack of computational power at the time. I did the final comp with the sprite glow added to the (hardware-rendered) fireworks. Pretty old school! I would do this in Houdini nowadays :).

22

Snickers Trattoria di Frame, 2001

I modeled the teeth, and lit the scene.

23

Snickers Trattoria di Frame, 2001

I animated the teeth, but not one by one - I created a few loops, pre-rendered them, and then rendered the scene with sprites, with hardware render. At the time, a real render with this amount of geometry was unfeasible. I animated the teeth in the foreground, as well as modeled the Snickers, and painted the displacement for the bite stretch marks on the chocolate. This one is so old that I think that I actually used Photoshop, and not Zbrush, to do these displacements. Lit, shaded, and rendered the scene.

24 25

Faculdade Estácio de Sá Oca Filmes, 2014

I directed this spot, as well as acted as 3D artist and TD. I modeled, textured, shaded and rigged the main character. I drew the cars and the characters inside them, but other than that, I didn’t work on the backgrounds.

26

Mentos Oca Filmes, around 2014

I was the technical director on this spot, and directed the effects shots. The dalmatian is fully 3D, based on many photographs of a hero dog. The background is a photograph taken on set. I was responsible for all aspects of this shot, with the exception of most of the dog’s animation, which I just cleaned up. I did the flying spots and particles, however.There isn´t any fur on this dog, it´s all done with textures.

27 28

Crefisa Oca Filmes, around 2014

I did the modeling, blendshapes, rigging, texturing, shaders, and fur on the dog.

29 30 31

Redecard Oca FIlmes, 2013

This was a rather complex rigging job. The dog needed to work with two rigs, and transition smoothly between them in the middle of an animation. I modeled, textured, shaded and lit both the dog and the machine, and then created the transition rig in about 3 weeks.

32 33 34 35 36 37

Às Dez (animated short) Oca FIlmes, 2013

This is from a short animated film that I directed. With the exception of the backpack, and the simulation of the hair and the skirt (done by two artists), I modeled the main character and the backgrounds, shaded, textured, painted and sculpted in zbrush for these scenes. I did the camera animations, but the character animations were done by another artist. I also did the concepts for these three scenes, and the particle snow. I did the final comp for all scenes in the short animation. The background of the snow scene is basically the original concept painting projected onto simple geometry. The snow is hardware rendered. These concepts are available in the 2D section.

38

Tainá Coffee Oca Filmes, 2014

I used projection mapping to paint over a render of the lit scene, to get a more stylized look. I did the scene lighting and setup, and most of the texturing. Also, the character setups, and some character modeling.

39

Chevron Duster Oca Filmes, 2014

I was responsible for the 3D duster in this scene, which was created using branches of spline IK joints with fur styled to look like feathers on it. Maya fur, and rigging. I did the lighting, and only the animation for the feather duster, not the 2D background. Rather atypically, I also did the English narrative for this spot!

40

Cerveja Polar Oca FIlmes, 2013

I did this spot by myself. Modeled, textured, shaded, lit, and animated the camera, and the cloth simulation transitioning into a blendshape animation. The flag is deformed with simple wave deformers. I also did the final comp.

41 42

Havaianas Oca Filmes, 2012

I modeled, lit, and shaded the sandals. I also textured, rigged, and animated the butterfly wings (also deformed by a nonlinear deformer). The background graphics and final comp were done by someone else. I modeled, lit, and shaded the sandal, as well as animated the scene. I created and animated the Paint Effects in the scene, as well. I did the final comp, but the border graphic elements were created by another artist.

43 44 45

Tim Oca FIlmes, 2012

I modeled, rigged, and shaded all of the characters. In fact, they are all the same Toy Art character, with a slider to change its textures. This came in handy when the agency asked to change them around! This spot was completely done in 2 weeks, over Christmas break. The chewing gum on the girl’ s face is a nifty texture swap.

46 47

Chevrolet Duendes Oca FIlmes, 2013

This spot was supposed to be a rather cheap/quick film, but ended up being pretty sophisticated anyway. I modeled and rigged the faces for the main characters using the Stop Staring method. I rigged most of the other characters, as well as helped with some texturing, and some shading. I once again used the sprite trick to multiply the characters. I helped sweeten the shot with matte painting elements of flowers and such for the background. I’m pretty sure that I lit these scenes, too.

<

48

O Curupira (short) Trattoria di Frame, 2004

I did the complex layered shaders for this character, as well as all incidental texture maps. I rigged this character, complete with semi-automated breathing, and all needed blendshapes. I also lit the scene. The modeling was done by Luiz Elias, and the color texture by Eduardo Schaal. The animation was done by an animator on the team. I painted the displacement map and the textures for the burnt head.

49 50 51

Dupe Saudação Oca Filmes, 2007

I did the modeling for the creatures, as well as the rigging, and the fur (grass). I also lit and shaded the scenes. The final comp was done by Luis Carone, the film’ s director.

52 53 54 55

Red Nose Oca Filmes, 2009

I did all of the characters, from concept to zbrush, to rigging and texturing and shading. The background were done by the team, as were the animations.

56

Ig Banda Larga Oca Filmes, 2007

I did the background neon sign in 3D, as well as the animation, and the final comp.

57

Palios in love Oca Filmes, around 2009

I did this one from scratch. The background was a .mov provided by Delicatessen.

58 59

Filtros Europa Oca Filmes, around 2014

I co-directed this spot with Paty Wood. I did the modeling, zbrush, textures, fur (a bit on the trunk, and on the head), lighting, render, and animation for the elephant, on both scenes.

60

Mizuno Terremoto Oca Filmes, 2006

I did this animated matte painting shot using a lot of projection mapping, and 3D cards (the building in the distance) .The foreground elements are all 3D. The cars were downloaded from Turbosquid. The wires were animated by Andre Metello, using a script that created extruded geometry on spline hairs. I modeled, animated, textured and lit the sign falling onto the car, and breaking everything. Some rocks were added with rigid body dynamics. The smoke was done with sprite emission. I was responsible for the final comp.

61

UOL Oca Filmes, 2015

Another complex transition shot. I used a blendshape to transition between the smooth UOL logo and a blocky one. I then swapped the blocky one with one made of thousands of Lego pieces, and simulated their fall using Maya Bullet rigid dynamics. I lit, animated, and composited the shot.

62

UOL 2 Oca Filmes, 2015

This was a nifty use of blendshapes to simulate a smooth fluid/meatball animation. I lit, shaded, animated and rigged the elements with blendshapes, lattices, and nonlinear deformers, then animated a few loose drops. After I rendered averything, I took the frames into Photoshop, and painted the transitions (both color bleed, and smoothing) between the elements, frame-by-frame. I rendered and composited the elements.

63

UOL 3 Oca Filmes, 2015

I transformed the smooth and round UOL symbol from a nurbs-created original to a displacement-mapped polygon by switching from one to the other in one frame. I then transitioned the displacement from the UOL logo to a faceted dodecahedron. I then swapped this new model for yet another one, which was completely cut into all of its triangles. I then united these triangles into branches of joints, using a MEL script that I wrote, to properly place and orient new joints based on what edges of the triangle were selected. I then did a rigid bind of the triangles to the joints, extruded them to create two sides (with two different shaders), and then handed this off to the animator, to animate the shape to the shape of the laptop. I then got this back, and deformed and adjusted the animation of the pieces with lattices, so that the transition would be as smooth as possible. I then lit, rendered, and composited the scene.

64

Pepsi Speakers Oca FIlmes, 2015

Raphael Perrone helped me model the blendshapes for the transitions between the speakers, and Fernando Riccioppo created the luminous texture to be applied to the curtains. This spot was a Brazilian remake of an American spot, so I basically rotoscoped the animation off of the original film. Aside from the help on those two elements, I did everything on the spot, including comp.

65

Bom Bril Andróide Conspiração Filmes, 2003

I worked on this scene in conjunction with Tomas Fontes. I modeled the face based on a sketch that I did, and a facial scan that we did of actor Carlos Moreno. Tomas modeled most of the body, and did the shader and textures. I lit the scene, and adjusted the mocap onto the body with a custom rig that I did that could blend between the traditional animation, and the mocap data (for example, to avoid the interpenetration of the arms on the table). I oversaw the mocap session in sao Paulo, as well.

66

Microsoft Scuba Oca Filmes, 2007

I did all of the background on this spot. The background is in fact all 3D, as we needed the caustics to interact with it. The character is based off of the toy art character that I had created for a previous spot. I did all of the shading (especially the fins, with SSS!), lighting, and compositing of this spot. I animated some bubbles, floating particles, and waving weeds on this.

67

Boticário Barry Company, 2016

I modeled, shaded, lit, and composited the perfume onto the filmed background. I also did the motion graphics, and the color correction/final comp for this scene.

68 69 70

Fiat Aquário Conspiração Filmes, 2003

I modeled, rigged, textured, shaded, and lit, and animated these fish. The particles were created on a Flame by another artist.