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3D Animation

3D Animation

Stuff The British Stole: Australia's Egyptian Mystery

Stuff The British Stole: Australia's Egyptian Mystery

Stuff The British Stole: Australia's Egyptian Mystery

/// Overview

/// Overview

For Episode 2 of the BBC/ABC series Stuff the British Stole, we created key animated sequences that follow an ancient Egyptian mummy from the pyramids to an Australian university, combining historical storytelling with a stylized look.

For Episode 2 of the BBC/ABC series Stuff the British Stole, we created key animated sequences that follow an ancient Egyptian mummy from the pyramids to an Australian university, combining historical storytelling with a stylized look.

// General Information
Role
Motion Design, 3D Animation
Duration
3 months
Software
After Effects, Cinema 4D, Octane Render
Credits
Studio: Lafinka.tv in collaboration with The Bureau StudioCreative Director: Andrés Gomez Isaza and Keke Marc RobertsonThanks to: Alejandra Morales (creative producer), David Osorio (Lead technical and visual artist), Alejandra Tilano (Lead concept artist), Alejandro Londoño (Designer and illustrator), and all artists involved in the project.Client: BBC / Wildbear EntertainmentDirector: Patrick ShannonHost: Marc Fennell

/// The Challenge

/// The Challenge

Under tight broadcast timelines, we had to turn 2D Egyptian-inspired illustrations into believable 2.5D environments. The scenes had to stay faithful to the original Photoshop artwork while allowing 3D camera moves, dramatic lighting inspired by pyramid interiors, and clean integration of characters and environments.
Under tight broadcast timelines, we had to turn 2D Egyptian-inspired illustrations into believable 2.5D environments. The scenes had to stay faithful to the original Photoshop artwork while allowing 3D camera moves, dramatic lighting inspired by pyramid interiors, and clean integration of characters and environments.
Under tight broadcast timelines, we had to turn 2D Egyptian-inspired illustrations into believable 2.5D environments. The scenes had to stay faithful to the original Photoshop artwork while allowing 3D camera moves, dramatic lighting inspired by pyramid interiors, and clean integration of characters and environments.

/// The Solution

/// The Solution

We modeled and UV-mapped every asset to match the Photoshop illustrations exactly, then projected the artwork onto them. The scenes kept a strong 2D graphic quality while gaining 3D depth and lighting. Early styleframes set a dramatic, high-contrast look that carried into the final direction.
We modeled and UV-mapped every asset to match the Photoshop illustrations exactly, then projected the artwork onto them. The scenes kept a strong 2D graphic quality while gaining 3D depth and lighting. Early styleframes set a dramatic, high-contrast look that carried into the final direction.
We modeled and UV-mapped every asset to match the Photoshop illustrations exactly, then projected the artwork onto them. The scenes kept a strong 2D graphic quality while gaining 3D depth and lighting. Early styleframes set a dramatic, high-contrast look that carried into the final direction.

/// The Process

/// The Process

We started with preproduction, styleframe exploration and the animatic. Assets were modeled and scenes set up in Cinema 4D. The Photoshop illustrations were projected onto simplified geometry, and Octane handled lighting, atmosphere and final rendering.
We started with preproduction, styleframe exploration and the animatic. Assets were modeled and scenes set up in Cinema 4D. The Photoshop illustrations were projected onto simplified geometry, and Octane handled lighting, atmosphere and final rendering.
We started with preproduction, styleframe exploration and the animatic. Assets were modeled and scenes set up in Cinema 4D. The Photoshop illustrations were projected onto simplified geometry, and Octane handled lighting, atmosphere and final rendering.

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