Mark Fitzpatrick

Promo for Hauntibles. VR rouge lite.

I was responsible for creating all 3d assets, rigging, animation, texturing and lighting.

Video is all in game graphics, nothing special was done to make it look cinematic. Viewing the flythrough in engine runs at realtime. All 3d asset are game ready.

All done inside Unreal 5.

Art Director: Kenji Bliss
Game Director: Joe Quadara
Technical Lead: James King

Brutal Knights was a unique project for a few reasons. I was brought in towards the end of the projects cycle to redo all the character and environment art for the wegGL demo built in Unity. I was the only 3d artist on the team so I was responsible for all aspects of the characters from, modeling, texturing, rigging and animation. Its the first time on a professional project where I did character animation. It was a great challenge.

I knew I needed to speed up my workflow and make it bulletproof so I decided to implement a novel approach. Rig and animate all the characters in Unreal and send them to Unity. The process worked great. Everything translated over perfect. I made sure to do a few early tests to confirm the process. I did this for two main reasons. If it works in a game engine, it will work in any game engine, and Control Rig in Unreal is easily scalable and you can easily transfer rigs to other characters. I also wanted a new challenge ;)

Characters and environment pieces were made in Zbrush, retopoed in Maya, bakes and texturing were done in Substance Painter. Character skeletons and skinning was done in Maya.

We did not make the enemy skeletons or treasure chest. Those were purchased to save time on the demo.

This is Medusa from Inhumans based on Joe Madureria’s designs. Final renders done in Unreal. Fully sculpted in Zbrush with detail maps from XYZ which were heavily edit in Painter. Groom was done with Xgen.

Next is to her talking using MetaPipe.

Beyond Our Stars

I started this project in 2016. Its been a great ride. It’s amazing how VR and film are so closely intertwined, from storytelling principles to staging a shot.

Unreal has been an absolute pleasure to use. Using the engine has been a key part to make the experience our team designed become a reality.

As Co-Creator I’ve been responsible for all modeling, lighting texturing, shader creation, character pipeline, facial animation and plenty of other various tasks :)

The most important thing I’ve learned on this project is that if you set yourself a goal, you can absolutely accomplish it.

Ill be posting all the work I did for FOAD soon.

https://www.foad.gg/

3/7/2024

Software: Unreal, Maya,Xgen, Zbrush, Substance Painter and Marvelous Designer

This is a realtime render of my beautiful baby boy when he was around 3 months old. This is just the first stage of the project. Facial animation and a costume is coming up!

Let me say right off the bat though this is NOT MetaHumans. But I did take apart the meta humans in Maya to see how certain parts were setup. I was curious about the eye, lacrimal and eye shadow setup. Once I figured out the direction and position of the uv's for the eye shadow material, it worked great. I'm also treating the new skin shaders as I would Arnold shaders. So using those as a starting point.

Its amazing that we can achieve this quality of rendering in Unreal now. Yes, it takes more time exporting the groom and everything from Maya but you can do so many more things with your characters in Unreal than you can in Maya.

My next push is to rig the face and create all the keyframes for the pose asset and all the blendshapes for facial motion capture.

Software: Unreal, Maya, Xgen, Zbrush and Substance Painter

I am really proud of this piece though. So many steps to get to this point and a lot of great feedback from friends.

9/9/2021

Dungeon Brewmaster is a immersive VR story driven crafting game that is currently out on Steam and VivePort.

Dungeon BrewMaster Steam

Dungeon BrewMaster Youtube

I was the lead 3d artist/technical director and co-directed Dungeon Brewmaster.

My roles and responsibilities were:

Characters: modeling, blendshapes, texturing, skeleton creation, skinning, engine implementation, and a tiny bit of animation.

Props: modeling majority of the props, texturing, engine implementation

Environments: modeling majority of environment, texturing, lighting and optimization.

Most images are in game or in Maya, Substance Painter and Zbrush. Nothing is pre-rendered.

This project was really special to me. It was my first time working directly on a film. I was part of the virtual production team at Eyeline Studios which is a smaller studio inside of Scanline which is owned by Netflix ;) I was working there when Netflix bought Scanline and Eyeline.

For Black Adam I mostly worked on the apartment hallway scene when Black Adam is floating down the staircase. Dwyane Johnson was filmed onset at the Nant Studio owned by Eyeline. I was responsible for creating a version of the hallway in Unreal that could run at 100+ fps. When I heard the frame rate I needed, I was a little worried but it worked out. The purpose of this was to light Black Adam correctly while he was filmed floating down. Doing so would help integrate Black Adam into the cg version of the hallway since he was being lit correctly. So the scene I created was put up on the LED wall and the director filmed Dwyane Johnson Infront of it for proper lighting.

I was given a barebone version of the hallway from VFX and I had to convert it into workable pieces makes that made sense for a game engine. So making things repeatable, light map uv’s and making sure udims’s worked correctly on the model. The hardest challenge of this was lighting the scene. There was a very direct but small amount of lighting coming into the scene so replicating that in Unreal was a challenge. The VFX Sup wanted the ability to control the sunlight on the LED wall. So I set up the scene so all the indirect lighting was baked using gpu lightmass and the direct sunlight was still realtime. T

It was really cool to see people interacting with the scene on the LED wall. I remember the VFX Sup for Scanline walking in and saying “This is really cool guys” Then he looked up and said… why is the sky so dark. :) So we fixed that.

There were a lot of other shots I worked on. For the explosion scene, I had to fixed a lot of the models on the day of the shoot. The director wanted things changed on the fly so I need to go in and clean up and fix pivots and hierarchy’s that would allow for better control of the models on set. The hardest part of this was figuring out how other people made these models and bring them back into Unreal without them breaking.

Other work include animating the virtual Nant stage in Unreal so when we film the actors for various shots, the lighting updated correctly for when the the plates would be composited into the shots.

The image below is final pixel. Our team was responsible for the Unreal scene that was used to light Dwayne Johnson, not final pixel of the cg scene.

Coming soon.

I was responsible for creating 16 unique characters for IDW's TMNT board game. A few of the characters that I modeled will be released in the upcoming expansions.

Zbrush was used for all the characters.

Completed February 2016

Teenage Mutant Ninja Turtles Kickstarter

Spinjas are back! If you remember playing with these as a kid then.... you're not a kid anymore. ;)

Nowstalgic Toys brought them back!

I was responsible for creating all the characters for the toy line and the mobile game. I created 24 characters for the app then converted them to print ready models.

Scott Ulliman over at s77 created all the concept art for the game. Every time he would post a new image, it was like Christmas to see what I was going to model next. It was a fun and exciting project to work on.  s77 is creating the mobile game and all the graphic design and motion graphics for Spinjas.

The images below are from Toy Fair 2016 that we attended and various images of the production. 

Great project I was able to work on. I was the lead 3d artist and spear headed the 3d printing and low poly pipeline for LAMO.

Responsible for creating all elements for DR. Disrespect and set art style for the hair.

Created bodies and faces for other characters.

LAMO Gameplay Trailer!

CNET Article

It was really exciting to work on a brand that I grew up with as a kid. I created the 4 characters for the game.

I was the lead modeler for Legend of Korra: Pro Bending Arena and was responsible for creating 25 unique miniatures for this project.

I worked solely with IDW Games who are always great to work with. 

I was given a lot of freedom regarding the poses for the fire,water and earth elements. I didnt work with a concept artist on this which made things fun but harder at times. I took a lot of the action poses from the show and changed them up to make sure the poses were structurally sound for 3d printing. 

Zbrush was used to create all the characters. 

Completed July 2017

Kick Starter Page

This model is a Kickstarter prize for Light Knight. It was completely modeled in Zbrush. 

Completed July 2014

I worked with Island of Misfit Toys to create a CG cruise ship for a national ad campaign for P&O Cruise Ships. I was responsible for the modeling. I did not model the lifeboats. 

Ship was modeled in 3ds Max.

Steve Hubbard created the matte painting and Michael Cox textured the ship.

Method Studios was responsible for the lighting.

Completed November 2014

These renders are for the new NetJets website created by Bonfire Red.
I worked with s77 to create these images.

All the OEM's were great at getting us plane models to work from.

I was responsible for model clean up, some modeling, and all lighting and texturing. The livery on the planes took a bit of time to get perfectly in the right spots. 

This is a project I worked on with Moonbot Studios. I was responsible for modeling the environment and all the props.

I used Marvelous Designer and 3ds max.

Completed August 2015

I worked with s77 and Blue Collar Agency to create this render to show off CRKT's new field strip technology.

I was responsible for modeling the entire knife and all the little pieces and creating the materials. 

I worked with the team at  DreamSquad and Digital Hydra on the short film Balance. They needed an artist to create a 3d version of an obelisk that can be seen towards the end of the film. 

I modeled, textured, lit and created the obelisk and snow.

Responsible for modeling two tanks and helicopters.  

Software: 3ds Max

Completed 2010

A co-worker and I created this logo build for a 48 hour film festive group. The director's
last name was Story so we used that as the main influence of the logo. 

I was responsible for modeling, lighting, texturing and animation.

I did not model or rig the book, but did texture and animate it. 

Justin Greathouse created the sound and add the particles in post. 

Modeling and animation were done in Maya. 

Arnold was used for lighting and rendering.

Completed July 2015.

I modeled this helmet for Moonbot Studios. It is worn by the grandpa, one of the main
characters in the animation. 

Completed July 2015

This image was a pitch for the Sony's Playstation 3 online system.

I modeled the treehouse elements and water wheel. 

Responsible for modeling the whale.

Software: Maya

Completed 2010

Out of 60+ plus animation/visual effects instructors I was nominated and made it into the top 3. Digital Tutors flew Justin, Victoria and my self out to their headquarters in Oklahoma. They are the most humble and fun people to be around. It was a great
experience that I will never forgot. Thank you Digital Tutors and my students who nominated me. 

I'm a huge Don Bluth fan. I enjoy the darker stories his studio explored and brought to life. I wanted to sculpt a stylized dog and create the fur for it. So what better character than Charlie?

Learning XGen to create the fur was such a pain! Its a great plugin but still a little buggy. I cant imagine how awesome XGen is at Disney where it was developed. Blendshapes saved me a lot of time developing the body shape while maintaining the fur. 

Charlie's body was modeled with Zbrush, lit with Arnold and the fur was created with XGen. 

Completed 5/17/2016

Based off of Don Bluth's character Charlie from "All All Dog go to Heave".

Software: 3ds max, Zbrush, Fumefx, Photoshop

I'm responsible for all elements in the the render. A good friend and co-worker Tom Richner
came up the concept of the dragon fireplace. He and I went back and forth on the designs a bit.
Mostly everything in this scene was created in Zbrush.

Completed November 2012

Created in 3ds max with Vray and Zbrush. 

Responisble for all elements in the scene. 

Textures are from cgtextures.com and hdrlabs.

Completed September 2013

This is the second character for the board game. Shes a sexy seductive female Minotaur assassin..... I didn't know they existed either ;) This model wont be sent to the printer as is. She needs a bit more thinness in the cape and skirt. All the negative space under her clothes needs to be filled in for stability. 

The body was created in Zbrush. The clothes and armor were low poly modeled in 3ds max then detailed in Zbrush

Completed April 2013

Completed July 2014

Completed February 2014

Completed December 2014

Completed April 2014

This character came out of the need to learn how to model and light in Cinema 4d. So this is first project I've done in the software. Its surprising fun to model in Cinema 4d. It takes a little getting use to coming from 3ds max but the general work flow is the same. 

The concept came from the extremely creative Kenji Bliss. I hadn't modeled one of his characters in a few years so it was time. 

Completed April 2016

This creature is based off of Kenji Bliss's concept art. http://kenbliss.blogspot.com/

Software: 3dsmax, Vray, Photoshop

This character and environment was modeled in 3ds Max and uvmapped in Modo. The lighting was done in V-Ray using indirect illumination. The planet was rendered in 3ds Max then had a bit of post effects applied to it to get the glow. Sub surface scattering was used on the character. 

Rendered with Vray. Modeled with  3ds max. 

I'm responsible for all elements in the scene.
Modeling/Lighting/Texturing and Rendering

Completed January 2013

This character was modeled after Chris Oatley's sketch. http://chrisoatley.com/

Software: 3ds Max, Topogun, Hairfarm, Photoshop.

He was modeled in Sculptris then retopoligized in Topogun. 3ds Max and Hairfarm was used to create the fur.
Various maps were painted to control the fur color, length, density, kinking, and clumping.

This creature is based off of Kenji Bliss's concept art. http://kenbliss.blogspot.com/

Software: 3dsmax, Zbrush, Topogun

This character was poly modeled with the use of Sub d's in 3ds Max. The cane was modeled in Zbrush then retopoligized in Topogun.

This character was modeled after Chris Oatley's sketch. http://chrisoatley.com/

Software: 3ds Max

This character was poly modeled with the use of Sub d's in 3ds max.

The Frog Prince was a fun character to do. The original concept art was created by Scott Ulliman.

The moment I saw the concept I feel in love with it and had to bring him to life in 3d. 

He was modeled and textured in Zbrush. 

This characters was created by myself and two other people. 

The head and helmet was created by Adam Carroll.
The chest armor model/texture and waist straps model, skull model/texture were created  by Sean O'Conner.

I was responsible for ther rest of the model. I used 3ds Max to poly-model the characters pieces.
Textures were painted inside of Body Paint. I am also responsible for this final render. 

Software: 3ds Max, Mental Ray, Modo, Body Paint, Photoshop

This creature is based off of Kenji Bliss's concept art. http://kenbliss.blogspot.com/

Software: Scultpris and Topogun

This character was sculpted in Sculptris then retopoligized in Topogun. The seat detail
was created with the use of normal maps which were projected in 3ds Max from the high poly model.