• Dragonkeeper Room
  • Spanish ( no simultaneous interpretation)
  • animation, vfx
  • 001

This conference focuses on the evolution of El Ranchito's working methodology for the creation and integration of hyperrealistic creatures for film and television. Our clients increasingly require us to create hyper-realistic animals and creatures that do not look like they have been generated by computer.

We have developed a working methodology that includes everything from skeleton, muscle, tissue, wrinkles, probabilistic hair shaders and the styling of millions of hairs, to lighting and final compositing. We use over 500 reference images and videos in this process.

In the session we will show the base geometry we use to create any kind of quadruped, from a deer to a lion, a dog or a horse. We will also analyse aspects such as the transition of characterfx from Maya to Houdini, rigging of muscles and dynamics, fascia, wrinkles, high resolution mesh multisolver with collisions, combing of millions of hairs, total control of the final appearance of tens of millions of hairs with their dynamics, optimisation of cache generation and render times.

Finally, we will deal with the preparation and automation of render layers so that the compositing department can have total control of the final look of the creature.

He started in 2008 as a 3D generalist in advertising for companies such as Mozart Montage and La Cosa. In 2012 he was a founding partner of Magno Entertainment, where, among many projects, he was VFX Supervisor and editor of Fallen Cloak. In 2015 he joined MAGO Productions as Render Lead for the production Flying Squirrels, which was followed by his work as Pipeline, Layout and Environment Supervisor on the production Tin y Tan of the same company.

Since 2018 he is part of El Ranchito, initially as CFX Artist for the production John Wick: Chapter 3 - Parabellum. After several projects, in 2022, he became VFX Supervisor.