Designed and sculpted in ZBrush then Rendered in Keyshot. This has an earlier color concept.
Designed and sculpted in ZBrush then Rendered in Keyshot. This has an earlier color concept.
Designed and sculpted in ZBrush then Rendered in Keyshot. This has an earlier color concept.
Designed and sculpted in ZBrush then Rendered in Keyshot. This has an earlier color concept.
Designed and sculpted in ZBrush then Rendered in Keyshot. This has an earlier color concept.
Designed and sculpted in ZBrush then Rendered in Keyshot. This has an earlier color concept.
The final design and alternate color concept.
The final color concept.
The final client approved scale of the alien.
The original script had the alien holding a slice so I did this design but in the final commercial he uses "alien powers" to pick it up and float it without even touching the pizza.
The alien in a kitchen setting.
Using a profile image of the design to assure the sculpt shape was correct.
The Alien body sculpt in progress...
Paul Mejias and Mark Maitre sculpting the alien body...
Ian Lome and I with our stack of design prints discussing the shape of the sculpt. Nice look on my face!
Paul Mejias and Mark Maitre adding the skin wrinkle detail to the Alien while Derek Rosengrant takes pointers to match his areas.
Adding the final finishing touches to the alien body with Paul Mejias, Mark Maitre and Derek Rosengrant.
I actually got to leave my computer and sculpt with my hands in the shop for the first time in years!
The five of us sculpted the alien out of wed clay in just a day and a half, using my designs as a visual reference.
Evening out the eyelids...
Final Head Clay Sculpt
Final Head Clay Sculpt
Final Head Clay Sculpt
Final Head Clay Sculpt
Final Head Clay Sculpt
Final Head Clay Sculpt
Final Head Clay Sculpt
The head inside it's fiberglass mold.
Vance Hartwell, the lead on this project, works with the puppet armature that he and Richard Landon were creating to make sure it fits properly inside the body mold.
We use the mold to align joints of an armature and other interior parts of a puppet to properly fit inside the outer skin.
Here Vance is fitting the bendable armature fingers in the hand.
The final interior body armature before it's inserted into the mold and surrounded by the silicone skin. The wires are the leads that will connect to the head where Richard designed all the face functionality that would be radio controlled on set.
Headless Alien Body.
Richard Landon hard at work to finish up his interior mechanics before the head will be closed up and silicone patched.
Richard hard at work to finish up his interior mechanics before the head will be closed up and silicone patched.
The Final Puppet.
The Final Puppet.
The Final Puppet.
The Final Puppet.
The Final Puppet.
The Final Puppet.
Richard Landon and Vance Hartwell adjusting the eyelid of the puppet prior to heading to set.
In-between shots on set with the Homesick Alien puppet.
In-between shots on set with the Homesick Alien puppet.
After the shoot we set up the puppet to have a photo session with the crew.
After the shoot we set up the puppet to have a photo session with the crew.
After the shoot with the little guy. We both look exhausted!
The Alien just shot a commercial and then had to take a bunch of pics with the crew. He's like... "ENOUGH ALREADY!"
Four of us puppeteered the alien: I was on head, Paul Mejias and Vance Hartwell were on the arms and Richard Landon operated the radio controller for the facial expressions. A fifth technician, Peter Clark, set up and controlled the lip sync rig.
Screen grab from commercial.
Screen grab from commercial.
