Zak Boxall | Texture and Look Dev VFX Showreel | 2019

My latest work up to 2019 whilst I’ve been working at Industrial Light & Magic. 
Happy to answer any questions! (nothing too specific)
Resistance Bomber 
All texture painting and look development of the entire Resistance Bomber fleet. I was the sole texture artist and took this from concept to final. Painting isolation masks in Mari and compositing the layers and procedural materials in Nuke for efficiency because there were many variations and damage states.
Resistance Cruiser 
Texture painting and look development of the Resistance Cruiser. I shared this asset with one other texture artist Tobias Danbo. We made material tiles in Nuke and painted isolation masks in Mari which we then composited together in Nuke as the ship had a huge amount of tiles. We painted damage variations and supported shot specific painting.
Indoraptor, 
I picked up at early stages of designing the black skin from Sally Wilson. I continued the black skin design and concepted and painted the mouth, stripe and eyes. I kept the textures procedural as the model was being developed. I painted isolation masks in Mari and composited all of the layers in Nuke for flexibility. For the look, I helped set the base levels of diffuse, specular, and SSS which I then adjusted in Katana for further balancing before passing onto the lighting department for further in-shot finesse . Further mask painting for isolation masks, wet, damage, bloodier variants and in-shot painting.
Stygimoloch 
Picked up from early stages of colour map from Ran Manolov - and took all the way through to final. I refined colour map and painted all other maps, setting specular and SSS levels with further refinement in Katana. Further mask painting for isolation masks, wet, and dirtier variants.
Sinoceratops 
Picked up from Dorothy Ballarini who did the colour map. My job was to upres the colour and paint the secondaries, setting specular and SSS levels with further refinement in Katana. Further mask painting for isolation masks, wetness, scattering, layering of dust, mud and dirt in Katana.
Baby blue 
I picked the colour map from the previous Jurassic World’s adult Blue. I changed the patterning, skin tones and details to feel more juvenile to fit the character. Also painting new specular and SSS maps to fit the new look.