ART DIRECTOR for specialty builds: I was in charge for those builds that went to outside contractors. These builds utilized computer aided building techniques and had to be supported by 3d files. My experience on all digital shows like Avatar helped me in this instance. I also supervised specialty finishes. My ID background again aided here. I am familiar with differing paint and finishing techniques.
The idea I had was to utilize a creature designer using z-brush to create 3d files that could support the CNC manufacture. I had been involved in so many cave-like sets. My concern was that in the previous method of manufacture, certain variables would arise. Previously a concept illustration would be created then this would go to a set designer that would lay the set out more generally to get the proper dimensions. This was the first process that influenced the design. As I mentioned before most set designers come from architectural background. Next possible alteration would come during the sculpting process. Like set design most sculptors come from a formal figure sculpting background. I’m not saying this would not succeed however for MIB there was a focus to be more organic visceral/ innards-like. This I believed made the creature designer the obvious choice and I brought in Tully Summers who I had worked with on Avatar. Tully was the main sculptor and model maker in the creature department on Avatar. An amazing z-brush artist.
We printed a rapid prototyped model to scale. All wild seams for camera were discussed and reflected in this model.
I had brought Wildfactory into this build as well. They were the ones I used on Tron and Oblivion. I believe they are the best. For this period style de-neuralizer we needed to finish this piece in a chrome finish. This finishing process was not a paint process it dealt with actual metal adherence.