Portfolio of J.W Sanderman

All work showcased here is my own, some of it to made try out new software, some to try out new techniques and then some just for the heck of it.

I modeled a low-poly head and textured it (using various photographs) in Mudbox and Photoshop, going back and forth between projecting and painting. Reference for the head is the actor Connor Jessup. Later I ran a few render tests with Solidangle’s Arnold renderer, and it’s “aiSkin” shader. Which is one of the fastest SSS-enabled shaders i have had the pleasure of working with.

The head is roughly 60.000 polygons and has a 4K diffuse and Specular map, it was rendered in Arnold and modeled in Maya.

After the head are tests I ran in E-on Vue that I am keen to replace with actual portfolio-grade material. Most of it was done to test Vue’s integration with Maya and Worldmachine, using stock assets bundled with Vue.

Under the supervision of Bryan Ray , I worked on the visual effects of the small independant road movie Canyon Road. Most of the work was compositing exteriors behind in-car shots, shot against greenscreen.

Working on this movie was an incredible lot of fun. The team was awesome, and I learned a ton about compositing from Bryan. The producers were very involved with the progress we were making and got more excited every step we got closer to the finish line.

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The film was shot digital, on Canon 5D Mark II camera’s. Starring in the film are Ivan Lovegren and Roxanne Jaeckel.

These are models I made as a volunteer for Flying Lab Software’s MMO Pirates of the Burning Sea.

The game has a quite advanced user content system that allowed for players to create their own ship models, and texture them with a set of amazing textures made by Flying Lab’s senior art director Bruce Sharp. Submissions are reviewed, and eventually integrated in the game.

In 2011, Flying Lab asked me if I could take over the reviewing of submissions, ever since, nothing gets to the Lab without my approval.

The review consist of a thorough quality control, focused on historical accuracy and technical quality. On the technical side, I review the quality of the texel-density, polygon count, topology, smoothing groups, level of detail grouping, and the correctness of the hierarchical structure.

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Here are two of the scenes I am currently working on. Hopefully those will make it to the top of the website soon, fully done and rendered. At this point I am learning how to use Naiad by Exotic Matter, using an old model developed for PotBS.

The first model showcased is an Avro Anson Mk1, a commonly used trainer and scouting plane in the 1940’s. Although originally it was modeled for a vfx-sequence in a small independent film, I am now just using it as a personal project, as the filmmakers ran out of cash halfway through the production.

Most of the work that still needs to be done is texturing and shading, as well as the entirety of the interior of the plane.