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Thomas Phillips-Howard

U.K.,  London National Film and Television School,  MA in Digital Effects,  December 22, 2015
I'm a hard surface modeler in the final year of my MA in Digital Effects at the National Film and Television School in London. I previously trained in Character Animation at Vancouver Film School and did my Ba in Illustration.
  • Animation
  • Compositing
  • Concept Art
  • Design
  • Generalist (all)
  • Matchmove
  • Modeling
  • Pre-visualisation
  • Rigging
  • Rotoscoping
  • Story Development
  • Texture Painting
  • 3D Equalizer
  • Boujou
  • Final Cut Pro
  • Houdini
  • Mari
  • Maya
  • Mental Ray
  • Motion Builder
  • Mudbox
  • Nuke
  • Photoshop
  • Unity 3D
  • UV Layout
  • V-Ray
  • Zbrush
Adobe
  • VFX/ANIMATION
  • Student of the Year
  • 804 Page Views
  • 8 Images
  • May 13, 2015
Thomas Phillips-Howard
Shot Breakdown
Audi A3: This is a car was built last year for an NFTS short film “Dark was the night”. I lead a small CG team to track, model, texture, light and render the crashed car to be composited into the final plate, In total it took a week to complete this asset.
I put Matt Moyes (a student on my course) in charge of tracking the shot, whilst myself and Stevie Gill tackled building the model. The entire car was built in Maya using plans and reference images I found online, Stevie built the under carriage and tires while I focused on the exterior and interior. It was entirely made out of quads.
As the script called for a crashed car I planned to do some crash simulations in Houdini however due to time restraints I decided to bash the car up in Zbrush, and created some extra bits such as the broken glass and broken metal to be strewn around the floor.
The rest of the CG work was all me, I textured the car in Mari, and brought it back into Maya to be shaded, lit and rendered with Vray.
The flashing light was an irradiance map I animated with the help of a couple of external lights.
The shot was composited by Victor Almela another student on my course.

Clonetrooper: This was a personal project I built over the Xmas holidays, it was an experiment in creating more complex hard surface forms.
As I had already build and rigged a basic human mesh, I started by finding some concept art and proceeded to build the Helmet in Modo using reference material I found online. This was the most complex piece as it required many different shapes all in one mesh.
Once I had completed each of the pieces of the armour and the gun, I brought all of the obj’s into Maya to be unwrapped with the new unfold 3d tool and then rigged them to the basic human model. I shaded, lit and rendered with Vray.
This project is still a work in progress, he is UV’d but not textured, I plan to make him a bit more interesting by removing the helmet and sculpting a realistic human head, as well as giving him a rebel battle standard and some other accessories.

Patrick Stewart: Is an example of many of my Zbrush Sculpts, this one is not quite finished as I need to spend some time doing his skin textures before retopologising and shading, it is my plan to also make some blend shapes.

Gargoyle: This was a mocap team project within my class. We were split into teams of 6 and given 5 weeks to come up with a story that involved one 3D character that needed to interact with a live action person. Within our team we had 3 CG artists, 3 compositors and a colour grader/editor.
We came up with our story within the first week, as I had illustration experience I drew/designed the original concept art for what the gargoyle could look like, we then split into our various disciplines. For my part I modeled the basic mesh in Maya and did the high res sculpt in Zbrush. After we had captured the performance, I was responsible for cleaning up the motion capture data in Motion Builder and then animating all of the secondary actions (wings/tail) in Maya.
The final version of the film can be found on my Vimeo Page: https://vimeo.com/thomasphillipshoward/videos

Set Extension: The final project on my showreel is a set extension that I built last year as part of our Take One Painting module. We worked with the production design and cinematography courses who built and shot the plate. We then each tracked, modelled, textured, lit, and rendered our own individual versions of the extension before comping them in Nuke.
Software used; PFTrack, Maya, Mudbox, Mari, Mentalray, Nuke.

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