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Clint Rea

United States,  Savannah Savannah College of Art and Design,  Visual Effects B.F.A. Technical Direction Minor,  May 30, 2016
My name is Clint Rea, and I am a visual effects student at the Savannah College of Art and Design. With a graduation date of May 2016, I am currently interested in internship opportunities and networking. My upbringing in rural Kansas was centered around a great deal of traditional art, music, and film. Some of my favorite hobbies included shooting photography, composing cinematography, painting, and drawing. This, along with my interest in biology and physics, has led me to find a passion for visual effects. The shots shown in my reel display work I have created while learning CG throughout the past year and a half. I love studying new processes, and I make it a point to explore new techniques in each project I pick up. At the moment, my reel leans towards that of a generalist; this is because I have studied multiple specialties to ensure I know exactly what I want to pursue as a career. I am now hopeful to become a lighting and look development artist. I hope you enjoy the work I have crafted thus far.
  • Compositing
  • FX/Simulations
  • Lighting
  • Look Development
  • Matte Painting
  • Modeling
  • Texture Painting
  • After Effects
  • Houdini
  • Mari
  • Maya
  • Mental Ray
  • Nuke
  • Photoshop
  • Unreal 4
  • UV Layout
  • Student of the Year
  • 2573 Page Views
  • 10 Images
  • May 09, 2015
01. Alien Azalea

This is a foreign twist on a familiar flower species, the Azalea. I focused on creating an alien plant that could be grounded to reality, yet also fantastical and creepy. Paying close attention to anatomy and movement, I was able to create an image that I believe feels natural, yet surreal. The look development on this piece was incredibly fun. I made it a point to study flower photography, and of course flowers themselves. However, in order to obtain the alien look I desired, I drew great inspiration from animals such as bats and snakes, as well as fictional creatures such as those seen in Alien and Prometheus.

The geometry was modeled and animated in Maya. Mari was used for texture painting all maps, including diffuse, specular, bump, multiple SSS, and displacement for animated veins. It was rendered with Mental Ray, with MILA shaders being used throughout for physical accuracy and efficiency. Nuke and After Effects were used for compositing and color correction.

Note: Animation and displacement / lighting levels are being driven by the use of naturalistic expressions.

Rendered with Mental Ray. 1920 x 817 pixels. Completed in roughly 35 hours.

02. Still Life of SG: New and Old

Spawned as a study on newly manufactured and aged man-made materials, this Gibson is a replica of my own personal guitar.

I worked directly from observation while creating this piece, with the guitar placed either on my desk or beside me. The new version was simple, and I especially enjoyed shading the cloth, which was an nCloth simulation. The old version was a bit more complicated for someone new to texturing/shading (my first experience with hypershade in Maya), but it was way more interesting than the new version! I had a lot of fun creating all of the unique weathering marks and imperfections. This was also before I had learned Mari, so all painting was done in Photoshop..

Geometry modeled in Maya. Nuke and After for compositing and color correction.

Rendered with Mental Ray. 1920 x 1080 pixels. Both versions completed in roughly 35 hours.

03. Silvia. Roger Deakins, Skyfall Match

This piece is an exact mood match to a scene composed by Roger Deakins in the 007 film Skyfall. I encourage you to see for yourself. The scene is simple, but I decided to learn Arnold and also explore shading, texturing, and lighting on this project. I spent a day reading the documentation and familiarizing myself with Arnold before diving in. It was also my first time using Mari on an industrial project. I usually go out of my way to learn new techniques for each project, even if it is not being taught. I'm in school for my own benefit!

Geometry modeled in Maya. Mari and Photoshop for texture painting. Nuke and After Effects for compositing and color correction.

Rendered with Arnold. 1920 x 817 pixels. Completed in roughly 25 hours.

04. CG Integration and Match

This was a CG integration and match-to-live project. I visited a state park to photograph the scene, obtain a corresponding HDRI, as well as shoot reference images of a gray sphere and cube in order to complete the shot. The camera used was a Canon 5D Mark III. It's always great to be able to go out in nature for a project. The tea cup was also photographed with orthographic views so I could perfectly replicate its contours. Detailed texture photography was also taken. The process involved with this project introduced me to the many aspects of live action matching, including camera, light, shadow, and of course other elements such as diffuse, specular, fill, and so on. My experience with oil painting has been a strong foundation for understanding light and texture, but isolating each element and compositing them back together also helped to solidify my understanding of what I'm doing within 3D software.

Geometry modeled in Maya. Mari and Photoshop for texture painting. Nuke and After Effects for compositing and color correction.

Rendered with Mental Ray. Completed in roughly 20 hours.

05. Still Life with Bowl of Fruit

Directed at understanding how to texture and shade organic materials, this project was my first time using SSS and anything other than standard lambert and blinn materials. It was also my first time ever using Mari. The focus of this piece was the fruit that sit within the bowl. It was interesting - at the time - recreating SSS and translucency while still being able to control a glossy/wet looking secularity. This was done with some small hacks within hypershade to combine attributes and light maps between shaders. Now that I use MILA and more physically accurate shaders within Arnold and other renderers, I think this approach to shading may be a thing of the past.

Geometry modeled in Maya. Mari and Photoshop for texture painting. Nuke and After Efefcts for compositing and color correction.

Rendered with Mental Ray. Completed in roughly 20 hours.

06 /7. Cuboids.

These two pieces were inspired by Lee Griggs and his work with Maya XGen and Arnold. I decided to recreate his work from scratch in Houdini. Important to note is that I did not follow any kind of tutorial for this, as it is a tool I created in Houdini, not Maya. Using instancing, I was able to control the color and height of thousands, even millions, of individual pieces of geometry with relative ease. The color and height in these shots are being driven by an image sequence I created. However, both color and height can be driven by procedural functions as well, there is no limitation.

Houdini. Nuke and After Effects for color correction and image sequences.

Rendered with Mantra. Completed in roughly 30 hours.

08. Enter the Void

I created this shot in order to familiarize myself with Houdini's pop network and noise. Starting with a simple sphere, I created procedural displacement based upon the luminance information of custom noise within a vopsop. I then used the color and position information from that to spawn particles. Attributes that controlled movement and placement were then promoted into a tool to control the final look. The shot is comprised of nothing but simple particles. A more detailed process with images can be viewed on my website.

Houdini. After Effects for color correction.

Rendered with Mantra. Completed in roughly 25 hours.

09. Castle Camera Projection

This shot revolved around understanding camera projection techniques in Nuke. The original plate was brought together quickly in Photoshop. Proxy geometry was then created in Nuke, and individual Photoshop layers were then projected onto the geometry. Maya was used when I needed a bit more detail from geometry. The process was fairly simple, but as with many of the shots on my reel, it was my first time doing so. I look forward greatly to using this technique again on a much more realistic shot!

Photoshop, Nuke, Maya. After Effects was used for color correction and snow via Trapcode Particular.

10. Pyro Creation UI

This tool was created with Python for Maya in order to simplify the process of creating pyro by targeting the most used attributes associated with doing so and placing them into one user-friendly window. I was able to effectively compile a simple user interface that allowed for complete control, from generating the fluid, to sculpting it with additional fields and using collision. It may not be a production level tool, but it worked beautifully for my needs. This was also my first time using Python.

Python. Maya.

11. Unreal Set Extension

Unreal has been gaining a lot of traction, and I had been curious to try it out in some way. The foreground of this shot contains two characters that overlook their domain. These two characters and the ground they stand on are real-time assets. I was responsible for the cinematography and lighting of that aspect, which was being displayed in front of a green screen in-engine. The characters are game models. An environment I created in Vue was then placed in the background, and the final look of the shot was aided by some additional atmospheric effects. I loved learning Vue, and I think it’s a great program - just wish it didn’t take so long to render!

Unreal. Vue. After Effects.

Rendered real-time in Unreal. Completed in roughly 10 hours.

Thanks for reading. If you have any questions regarding any of the shots, please feel free to email me directly at

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