My name is Lauren Manuel Garcia Carro. I started my adventure in the 3D profession long ago when I first saw Indiana Jones and Star Wars. I remember being at home with my parents and seeing the “making-of” a hundred times and my parents asking me why I loved it. My childhood idols were John Knoll, John Lasseter, Dennis Muren and Phil Tippet unlike many of my peers at the time who idolized athletes, for example.
So, I started to play with the early version of 3D Studio Max, currently known as 3ds Max. I did basic stuff like primitive houses constructed with cubes and pyramids, but every render was a new goal for me. In Spain, in university at the time, 3D was seen as more “sci-fi”. I only had one class about 3D and it was completely focused on the mathematics about how rendering works. I was focused on learning more, and one of my friends, Ramiro Lopez Dau, told me that there was an Autodesk Certified Center close to my house, called Cice. So I went there and what I saw blew my mind. I asked for a loan from the bank since my parents couldn’t support me and I spent two years finishing my studies in university and Cice, sleeping only 5 hours each day. It seems crazy when I look back on it, but I would do it all over again if I had the opportunity.
Since then, I’ve had the honour to work on films such as Avatar, Captain America Civil War, and 47 Ronin. I would say that if you play hard and fight for what you want to do, anything is possible.
When you are involved in productions, it's so hard to make time for personal projects but I felt that I needed to do it; I needed to create and develop other skills because I focused on shading and textures throughout my whole career. One day I was organizing my drive and I found this concept from David Smith, and I said to myself, it's time.
I started the scene with the premise of being as close as possible to the original concept. The idea was not to create something ultra-realistic, but rather to create something artistic, completely hand painted with some procedural textures included in Maya. In this way, I could explore the procedural patterns to create something beautiful without spending so much time painting or looking for references. Due to the time constraints of working on personal projects, this was key for me. The renderer I chose was Arnold, and now Arnold is included in Maya which is frankly a great addition. It’s really easy to set up and create beautiful images with it. The overall time (from scratch), was one month, working on it a little each day.
I want express my gratitude to my wife Saray, who supports me and encourages me every day to take time for my personal projects again.
If you want to see more about me and detailed breakdowns of how I did it, please feel free to visit my webpage and write me if you have any questions.