Rovio Enterteinment Corporation

Following the release of the Angry Birds movie, our studio received a commission from Rovio's marketing department to create unique versions of the main characters for their commercial use. We were provided only with the geometry of each character in T-pose from Sony Animation. Our task involved meticulously replicating the shading, textures, fur, and overall appearance of each character to closely resemble their portrayal in the movie. Additionally, we developed rigs that facilitated animation similar to what was seen in the film.

Upon joining Rovio, I became involved in the Piggy Tales project, arriving less than two months before the scheduled series premiere. At the time, there was no established look or closed pipeline for the production. Additionally, some chapters' animation had been outsourced to the French company CUBE, which added complexity to the flow of information.

I assumed the responsibility of establishing the final look and feel of the series while developing a pipeline for shading, lighting, and rendering. This new pipeline aimed to streamline the development process, enabling the creation of each chapter within a week's timeframe of work despite the initial challenges.

"Emerald" was the codename for the series scheduled to follow the release of the Angry Birds movie. I was tasked with designing the series' visual appearance, aiming for an aesthetically attractive yet cost-effective approach.

To achieve this, I developed a visual style based on procedural material libraries and a lighting system. This approach avoided global illumination in favor of faster work procedures, which were both efficient and cost-effective.

Regrettably, the project was canceled before it could come to fruition.