Transformers Cyberverse
Role: Art Director
Client: Hasbro
I was hired by Boulder Media to work on the show back in June 2017, initially collaborating with the series Directors Jean Texier and Rob Cullen (then replaced by Ehud Landsberg), providing mood paintings and early design explorations.
Eventually that lead me to manage a team of 12 people in-house, 4 freelancers and communicating on a daily basis with various leads from Xentrix Studios (outsourcing company which produced the show). During the course of 2 years and a half I provided sketches and 3d mockups for locations and characters, detailed episodic briefs and style guides, mood boards, retakes for various departments, support for internal and outsourcing artists, whilst also acting as a liaison between the creative team and the production crew, ensuring the show would get done within budget and schedule.
Client: Hasbro
I was hired by Boulder Media to work on the show back in June 2017, initially collaborating with the series Directors Jean Texier and Rob Cullen (then replaced by Ehud Landsberg), providing mood paintings and early design explorations.
Eventually that lead me to manage a team of 12 people in-house, 4 freelancers and communicating on a daily basis with various leads from Xentrix Studios (outsourcing company which produced the show). During the course of 2 years and a half I provided sketches and 3d mockups for locations and characters, detailed episodic briefs and style guides, mood boards, retakes for various departments, support for internal and outsourcing artists, whilst also acting as a liaison between the creative team and the production crew, ensuring the show would get done within budget and schedule.
Very early vis Dev, when the show was meant to be only in 2D and we were pretty blatant with our references and inspiration (Samurai Jack of course): flat shapes and nice textural brush marks.
Once we finally hit production the bulk of my daily task would be mostly split between script-breakdowns, briefs, creating moodboards and retakes (with draw over notes) for various departments, so overall less art and more direction.
All of the above without taking into account daily calls with partners in the US, Zoom meetings with the outsource studio in India and regular updates with the production crew in Dublin. Essentially a huge juggling routine.
For those who are curious, you can see some of the preparatory sketches that were my daily bread during production. Often made in about an hour whilst discussing frantically with directors, production and studio partners, these little doodles were the backbone of everything we developed visually.
Stillframes from the show.
