CG vehicles built for destruction, reflection and the movements that can't be staged safely. Fire trucks, naval vessels, WWII aircraft, period tour buses and crashing cars. Twelve productions.
A CG vehicle has to do two things simultaneously: exist correctly in the environment around it, and move in a way that matches or extends what was captured on the day. The environment means lighting, reflection and surface interaction. The movement means animation that carries weight and serves the edit.
A fire truck in an inferno reflects that inferno across every surface: the hoses, the rails, the housing, the bodywork. When it reads right, the audience never questions it.
Our vehicle pipeline starts from stock models wherever possible. A practical strategy that lets us focus effort on what will actually read on screen. Every stock model is then dressed with production-specific details: damage, number plates, livery, decals, the specific rig that makes an appliance truck what it is.
Surfacing in Substance Painter, rigged and animated in Maya, lit and rendered in Houdini with Redshift. Photographic accuracy on the details that matter, particularly propeller motion blur on aircraft: when it's right, it reads subconsciously and the sequence holds.