Suzanne H. Smith
Demo Reel 2011 Shot Breakdown
phone: (310)709-0971
email: suzannehsmith@yahoo.com

Shot Sequence 1. Image Movers Digital – Disney’s “A Christmas Carol” - 2009
Book Opening: I textured the book for the opening shot for the movie.  My part was surfacing for the red leather book with the gold lettering as well as preparing all the pages with type for the book.  Maps created for color, spec, and displacement.  Maya, Photoshop, Illustrator, and BodyPaint 3D.

Shot Sequence 2. Image Movers Digital – Disney’s “A Christmas Carol” - 2009
The Christmas Goose being brought in by the Cratchit Family:
I painted the Goose with the stuffing on the platter with the cloth cover and various other props in the room.  This includes a wooden chair, Tiny Tim’s stool, the blue ceramic pitcher, some bowls, a clock on the mantle piece, and a spice rack.  I created for color, spec, displacement and bump maps.  Maya, Photoshop, Illustrator, BodyPaint 3D, MudBox and Renderman for the Lookdev turntables.

Shot Sequence 3. Image Movers Digital – Disney’s “A Christmas Carol” - 2009
Scrooge’s Nephew Fred’s Parlor Pieces and Character Amber:
I worked on the Piano, Piano Stool, Formal Woman Amber on the right side of the couch with the Yellow Shawl (back to camera next to the man), Fancy Wooden Chair next to the Piano.  Maps created for hard surfacing objects: color, spec, and displacement.  Maps created for Amber: color, opacity, albe, wetspec, spec, and displacement Maya, Photoshop, Illustrator, BodyPaint 3D and Renderman for the Lookdev turntables.

Shot Sequence 4. Image Movers Digital – Disney’s “A Christmas Carol” - 2009
Ignorance Thug Character:  I worked on the character of the Ignorance Thug as an adult, including his knife and clothing.  Maps created for color, opacity, albe, wet spec., spec, and displacement.  Maya, Photoshop, Illustrator, and BodyPaint 3D.

Shot Sequence 5.  Image Movers Digital – Disney’s “A Christmas Carol” - 2009
 The Royal Exchange; Business Man C – (Far Right w/Monocle}:
My part was surfacing the entire Royal Exchange Building, including figures on precipice and the stairs.  Maps created for color, spec, and displacement for building’s hard surfaces. Maps created for color, spec, albe, opacity, wet spec, and displacement for the character’s surface, including clothing.   Maya, Photoshop, Mud Box, and BodyPaint 3D.

Shot Sequence 6.  Image Movers Digital – Disney’s “A Christmas Carol” - 2009
The Royal Exchange (In the Moonlight}:
My part was surfacing the entire Royal Exchange Building, including figures on precipice and the stairs.  Maps created for color, spec, and displacement for building’s hard surfaces.  Maya, Photoshop, Mud Box, and BodyPaint 3D.

Shot Sequence 7. Disney Feature Animation – “Meet The Robinsons” - 2007
Petunia Puppet Character – Paint3D expressions used for the color and specular of the dress sparkles.  Hand painted wood grain maps painted for the hair and for the details in the hands and fingers.   Renderman with Slim interface used for the shaders, separate maps created for the eyelash pipe cleaner soft fuzzy look modifying Renderman shaders.  Puppet dress using Renderman sheen shader for soft fabric simulation.  Earrings use adjusted anisotropic shader.

Shot Sequence 8.  Disney Feature Animation – “Meet The Robinsons” - 2007
Frog Bar Set Environment - I painted all the texture maps on the following 3D models using Maya, Photoshop, Disney’s Paint 3D with software expressions, all based closely on the art director’s sketches.  All the models were painted with color, specular, and displacement maps.  Renderman was used for the shader networks.  I constructed and modified the shader parameters for my shading network.
Frog Bar Set – full scene from the top shows off the rippled glass bar top.
Frog Bar Chair, Front – fabric created in Photoshop based on the animated path of a fly.  Metallic dragonfly shader created to resemble highly reflective blue metal.
Fly Vending Machine – specular glass shader with sparkles imbedded in the glass.
Frog Bar with Mirror back frame – metallic dragonflies with color gradations hanging from the back wall on a frame around the back mirror.  At least 20 layers of maps make up the effect for the back wall. Frog Bar Set – carpeted lily pads. Renderman shaders were built for patterned rug color map and rug displacement.

Shot Sequence 9. ZoicStudios - NBA TV, Bumper for Electronic Arts 2004
Software: Deep Paint, Photoshop, Illustrator, and Maya.
I created maps for the players’ uniforms color, spec, and bump maps.  I painted the basketball player’s uniforms based on NBA Illustrator files.  Worked with Deep Paint software on projection for components of the uniforms. I retouched and removed unwanted lighting from scans of the players’ faces for their head maps and painted hair maps. Used Maya software for putting the maps shaders together with the players.

Shot Sequence 10.  Digital Domain – “I, Robot” - 2004
Texture painting for the Robot’s frosted body parts and muscle wire surfaces.  Maps created for color, spec, transparency, and bump.  Maya, Photoshop and Deep Paint 3D.

Shot Sequence 11.  WOT inc. – Sky Captain and the World of Tomorrow - 2004
Texture painting for The Giant Robot Hand.  Maps created for color, spec, and displacement.  Maya, Photoshop and Renderman with Slim interface.

Shot Sequence 12.  Stan Winston Digital - Sky Captain and the World of Tomorrow - 2004
Texture painting for The Tree Bridge in the Jungle.  Maps created for color, spec, transparency and bump.  Maya, Softimage XSI, Photoshop and Deep Paint 3D.

Shot Sequence 13. WOT inc. - Sky Captain and the World of Tomorrow - 2004
Texture painting for The Angel Warrior in a glass presentation case.  Maps created for color, spec, transparency and displacement.  Maya, Photoshop and Renderman with Slim interface.

Shot Sequence 14. Cinesite, (A Kodak Company) – “Clockstoppers” - 2001
Texture painting for The Digital Bumble Bee - maps that aided in the generation of the bee’s fur.  Maps were painted for fur color, fur density, fur height, specular, displacement and fur transparency.  Maya, Photoshop and Alias StudioPaint 3D.

Shot Sequence 15.  Dream Theater - Star Wars Video Game Cinematic - 2000
Texture painting of the following objects and characters: Boba Fett, Sebulba and Jabba’s Gate.  Maps were painted for color and bump maps.  Maya, Alias StudioPaint 3D, Photoshop and Metacreations 3D Painter software.

Shot Sequence 16. Tippett Studio – “My Favorite Martian” – 1999
Digital lighting of the spacesuit character “Zoot”.  Softimage 3D for digital lighting with Tippett Studio’s proprietary Renderman Interface.

Shot Sequence 17. Cinesite (A Kodak Company) – “Solaris” - 2002
Texture painting for the space ships.  Honeycomb repeating texture panels on the spaceship as well as various repeating texture panels on the spaceships. Maps were painted for transparency, and bump.  Maya, Photoshop, and Alias StudioPaint 3D.

Shot Sequence 18. Cinesite (A Kodak Company) – “Thirteen Ghosts” - 2001
Texture work begun at ESC Studio was continued and finished at Cinesite.
Missing gears of the Ocularis were textured.  The floor rings around the Ocularis were textured. The exploding gears and rings of the Ocularis were textured. The burned floor rings around the Ocularis after the explosion were painted. Work was done as well to convert the shaders from Mental Ray to Renderman format.  Maya, Photoshop, and Alias StudioPaint 3D.        

Shot Sequence 19. Cinesite (A Kodak Company) – “Time Machine” - 2002
Texture painting for the digital Sphinx Monument.  Maps were painted for color, specularity, and bump.  Maya, PhotoShop, and Alias StudioPaint 3D.

Still Images and Turntables
Image 1: WOT inc. - Sky Captain and the World of Tomorrow - 2004
Texture painting for Map Table.  Maps created for color, spec, and bump.  Maya, Photoshop, and Renderman with Slim interface.

Image 2: Zoic Studios – “Serenity” - 2005
Texture painting for Pony Keg.  Maps created for color, spec, and bump.  Maya, Photoshop, and Deep Paint 3D.

Image 3: Zoic Studios – “Serenity” - 2005
Texture painting for Serenity ship hood.  Maps created for color, spec, and bump.  Maya, Photoshop, and Deep Paint 3D.

Image 4: WOT inc. – “Sky Captain and the World of Tomorrow” - 2004
Texture painting for Thor’s Hammer.  Maps created for color, spec, bump and displacement.  Maya, Photoshop, and Renderman with Slim interface.

Image 5: Disney Feature Animation – “Bolt” - 2008
Cash Register – texture painting for the cash register in the pet store.  I painted color, displacement, and specular maps based on specific designs.  Software: Photoshop, Maya, and Disney In House “Paint 3D” Renderman was used for the shader networks.

Image 6: Disney Feature Animation – “Bolt” - 2008
Film Clapper – texture painting for the Movie Set film clapper.  I painted color, displacement, and specular maps based on specific designs.  Software: Photoshop, Maya, and Disney In House “Paint 3D” Renderman was used for the shader networks.

Image 7: Disney Feature Animation – “Bolt” - 2008
Turtle – texture painting for the 3D comic turtle in a pet store.  I painted color, displacement, and specular maps based on specific designs.  Software: Photoshop, Maya, and Disney In House “Paint 3D” Renderman was used for the shader networks.

Image 8: Disney Feature Animation – “Bolt” - 2008
Phone Booth – turntable long shot front face of the booth, maps simulating a sun bleached effect on the signs all around the phone booth. 
Phone Booth – close up, many maps to give effect of dust and grime on the exterior of the glass and metal of the phone booth.
I painted color, displacement, and specular maps based on specific designs.  Software: Photoshop, Maya, and Disney In House “Paint 3D” Renderman was used for the shader networks.

Still Images Personal Work - Portraits Painted with Corel “Painter”

Image 9:  Mr. “Clean”

Image 10:  Smiling man

Image 11:  Julian in shades of gray (Older man)

Image 12:  Tina Vega (Created character)

Image 13:  Serious Man (a quick45 minute sketch using Painter’s pastel brush)

Image 14:  Is it Steve Martin or Ollie North?  Maybe a little of both...