Studio - Dreamworks Director - Rupert Sanders
In 2015 director Rupert Sanders reached out to me to help him develop his upcoming adaptation of anime masterpiece - Ghost in the Shell. We started working on the project by pitching key concept illustrations for the studio focusing on the visual development and look of the film adapted from animation to feature film.
Studio - Dreamworks Director - Rupert Sanders
In 2015 director Rupert Sanders reached out to me to help him develop his upcoming adaptation of anime masterpiece - Ghost in the Shell. We started working on the project by pitching key concept illustrations for the studio focusing on the visual development and look of the film adapted from animation to feature film.
Studio - Dreamworks Director - Rupert Sanders
In 2015 director Rupert Sanders reached out to me to help him develop his upcoming adaptation of anime masterpiece - Ghost in the Shell. We started working on the project by pitching key concept illustrations for the studio focusing on the visual development and look of the film adapted from animation to feature film.
Studio - Dreamworks Director - Rupert Sanders
In 2015 director Rupert Sanders reached out to me to help him develop his upcoming adaptation of anime masterpiece - Ghost in the Shell. We started working on the project by pitching key concept illustrations for the studio focusing on the visual development and look of the film adapted from animation to feature film.
Studio - Dreamworks Director - Rupert Sanders
In 2015 director Rupert Sanders reached out to me to help him develop his upcoming adaptation of anime masterpiece - Ghost in the Shell. We started working on the project by pitching key concept illustrations for the studio focusing on the visual development and look of the film adapted from animation to feature film.
GENOIDS
Once the film was funded to be developed as a feature, I was asked to take a role of lead concept artist together with Vitaly Bulgarov. I developed the overal look and feel for Genoid mechanical structure that later has been adapted to the clockwork look by talented people at Weta Digital. I also worked closely with Rupert Sanders and costume designers Kurt and Bart to anchor the base costume look and feel for Genoids.
GENOIDS
Once the film was funded to be developed as a feature, I was asked to take a role of lead concept artist together with Vitaly Bulgarov. I developed the overal look and feel for Genoid mechanical structure that later has been adapted to the clockwork look by talented people at Weta Digital. I also worked closely with Rupert Sanders and costume designers Kurt and Bart to anchor the base costume look and feel for Genoids.
GENOIDS
Once the film was funded to be developed as a feature, I was asked to take a role of lead concept artist together with Vitaly Bulgarov. I developed the overal look and feel for Genoid mechanical structure that later has been adapted to the clockwork look by talented people at Weta Digital. I also worked closely with Rupert Sanders and costume designers Kurt and Bart to anchor the base costume look and feel for Genoids.
GENOIDS
Once the film was funded to be developed as a feature, I was asked to take a role of lead concept artist together with Vitaly Bulgarov. I developed the overal look and feel for Genoid mechanical structure that later has been adapted to the clockwork look by talented people at Weta Digital. I also worked closely with Rupert Sanders and costume designers Kurt and Bart to anchor the base costume look and feel for Genoids.
The main goal for the environment designs was to find the best possible compromise between director's vision for the film, pracitcal restrictions of locations in which the movie was shot and paying a homage to the source material of Mamoru Oshii's films. As a lead concept artist I had to find the language that could later serve as a base for art department and VFX artists from which they could elaborate the look and feel of the show. Below are some examples of that, some of the shots ended up reproduced in the film very closely.
The main goal for the environment designs was to find the best possible compromise between director's vision for the film, pracitcal restrictions of locations in which the movie was shot and paying a homage to the source material of Mamoru Oshii's films. As a lead concept artist I had to find the language that could later serve as a base for art department and VFX artists from which they could elaborate the look and feel of the show. Below are some examples of that, some of the shots ended up reproduced in the film very closely.
The main goal for the environment designs was to find the best possible compromise between director's vision for the film, pracitcal restrictions of locations in which the movie was shot and paying a homage to the source material of Mamoru Oshii's films. As a lead concept artist I had to find the language that could later serve as a base for art department and VFX artists from which they could elaborate the look and feel of the show. Below are some examples of that, some of the shots ended up reproduced in the film very closely.
The main goal for the environment designs was to find the best possible compromise between director's vision for the film, pracitcal restrictions of locations in which the movie was shot and paying a homage to the source material of Mamoru Oshii's films. As a lead concept artist I had to find the language that could later serve as a base for art department and VFX artists from which they could elaborate the look and feel of the show. Below are some examples of that, some of the shots ended up reproduced in the film very closely.
The main goal for the environment designs was to find the best possible compromise between director's vision for the film, pracitcal restrictions of locations in which the movie was shot and paying a homage to the source material of Mamoru Oshii's films. As a lead concept artist I had to find the language that could later serve as a base for art department and VFX artists from which they could elaborate the look and feel of the show. Below are some examples of that, some of the shots ended up reproduced in the film very closely.
Major
Major
I had a chance to also work directly with Costume Designers Kurt and Bart. Here are several tactical outfit designs. I've also helped to design the look of thermoptics suit, the way lines were cut and layered as well as how the suit would go into camouflage. WETA did an amazing job translating these ideas into more refined and final product.
I had a chance to also work directly with Costume Designers Kurt and Bart. Here are several tactical outfit designs. I've also helped to design the look of thermoptics suit, the way lines were cut and layered as well as how the suit would go into camouflage. WETA did an amazing job translating these ideas into more refined and final product.
I had a chance to also work directly with Costume Designers Kurt and Bart. Here are several tactical outfit designs. I've also helped to design the look of thermoptics suit, the way lines were cut and layered as well as how the suit would go into camouflage. WETA did an amazing job translating these ideas into more refined and final product.
I had a chance to also work directly with Costume Designers Kurt and Bart. Here are several tactical outfit designs. I've also helped to design the look of thermoptics suit, the way lines were cut and layered as well as how the suit would go into camouflage. WETA did an amazing job translating these ideas into more refined and final product.
Cyborgs
Cyborg designs ended up making only minimal part in the film. You can see few HANKA robots as background of few scenes in film. Nontheless, designing these with director Rupert Sanders was quite an experience.
Cyborg designs ended up making only minimal part in the film. You can see few HANKA robots as background of few scenes in film. Nontheless, designing these with director Rupert Sanders was quite an experience.
Cyborg designs ended up making only minimal part in the film. You can see few HANKA robots as background of few scenes in film. Nontheless, designing these with director Rupert Sanders was quite an experience.
Cyborg designs ended up making only minimal part in the film. You can see few HANKA robots as background of few scenes in film. Nontheless, designing these with director Rupert Sanders was quite an experience.
