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3D Animation

3D Animation

Stuff The British Stole: Fire Star Rock

Stuff The British Stole: Fire Star Rock

Stuff The British Stole: Fire Star Rock

/// Overview

/// Overview

For episode five of Stuff The British Stole Season 3, the story needed to show the Cranbourne meteorite, the largest of its kind and now held at the British Natural History Museum, arriving on Earth. We designed and produced a continuous sequence of its violent descent from space. It became the visual anchor of the episode, with photorealistic lighting and the scale and energy the moment called for.

For episode five of Stuff The British Stole Season 3, the story needed to show the Cranbourne meteorite, the largest of its kind and now held at the British Natural History Museum, arriving on Earth. We designed and produced a continuous sequence of its violent descent from space. It became the visual anchor of the episode, with photorealistic lighting and the scale and energy the moment called for.

For episode five of Stuff The British Stole Season 3, the story needed to show the Cranbourne meteorite, the largest of its kind and now held at the British Natural History Museum, arriving on Earth. We designed and produced a continuous sequence of its violent descent from space. It became the visual anchor of the episode, with photorealistic lighting and the scale and energy the moment called for.

// General Information
Role
Lead 3D Artist, Look Dev, Art Director, Pyro & Collision Simulations Artist
Duration
5 months
Software
Cinema 4D, Redshift, EmberGen, After Effects
Credits
Studio: Lafinka.tvProject Director: Andrés Gomez Isaza and Keke Marc RobertsonThanks to: Alejandra Morales (creative producer), David Silva (3D Animator), and all artists involved in the project.Client: BBC / Wildbear EntertainmentCreator & Host: Marc FennellExecutive Producers: Richard Finlayson, Alan Erson, Kate HarrisonProducers: Marc Fennell, Kate PappasDirectors: Aaron Smith, Gary Hamaguchi, Shane Belcourt

/// The Challenge

/// The Challenge

We had to sell the scale and heat of a huge rock entering the atmosphere. That meant pushing procedural texturing and building heavy, art-directable volumetric fire simulations. Those caches then had to stay consistent across 19 camera angles without breaking the render and compositing pipeline.
We had to sell the scale and heat of a huge rock entering the atmosphere. That meant pushing procedural texturing and building heavy, art-directable volumetric fire simulations. Those caches then had to stay consistent across 19 camera angles without breaking the render and compositing pipeline.
We had to sell the scale and heat of a huge rock entering the atmosphere. That meant pushing procedural texturing and building heavy, art-directable volumetric fire simulations. Those caches then had to stay consistent across 19 camera angles without breaking the render and compositing pipeline.

/// The Solution

/// The Solution

We designed Kaleido as a modular, generative identity based on geometric patterns, rotations and color shifts. The video works as both a manifesto and a demo of the brand, showing logo animations, evolving patterns and real applications that express order within creative chaos.
We designed Kaleido as a modular, generative identity based on geometric patterns, rotations and color shifts. The video works as both a manifesto and a demo of the brand, showing logo animations, evolving patterns and real applications that express order within creative chaos.
We designed Kaleido as a modular, generative identity based on geometric patterns, rotations and color shifts. The video works as both a manifesto and a demo of the brand, showing logo animations, evolving patterns and real applications that express order within creative chaos.

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/// The Process

/// The Process

We started with blocking and camera layout for all 19 shots, setting the trajectory, speed and framing of the descent. Once the animatics were locked, we built heat-reactive shaders in Redshift to show temperature gradients across the porous rock. Next came the fire and smoke simulations in EmberGen, exported as VDB caches and synced with the master animation in Cinema 4D, with voxel density tuned to balance quality and render time. Shots were rendered in Redshift as multi-pass sequences. In After Effects we added glow, heat distortion and atmospheric depth to finish the impact.
We started with blocking and camera layout for all 19 shots, setting the trajectory, speed and framing of the descent. Once the animatics were locked, we built heat-reactive shaders in Redshift to show temperature gradients across the porous rock. Next came the fire and smoke simulations in EmberGen, exported as VDB caches and synced with the master animation in Cinema 4D, with voxel density tuned to balance quality and render time. Shots were rendered in Redshift as multi-pass sequences. In After Effects we added glow, heat distortion and atmospheric depth to finish the impact.
We started with blocking and camera layout for all 19 shots, setting the trajectory, speed and framing of the descent. Once the animatics were locked, we built heat-reactive shaders in Redshift to show temperature gradients across the porous rock. Next came the fire and smoke simulations in EmberGen, exported as VDB caches and synced with the master animation in Cinema 4D, with voxel density tuned to balance quality and render time. Shots were rendered in Redshift as multi-pass sequences. In After Effects we added glow, heat distortion and atmospheric depth to finish the impact.