Welcome! This is essentially a blog with the sole purpose of showcasing professional and personal art works created by Marko Ljubez. Furthermore this space serves as a trackback diary, displaying random thoughts, things that inspire me, movies and music I like, food I enjoy and more. This blog is in development. More to come soon.
Here is some recent work, produced by B-Reel, advertising the new Mazda 6. My responsibility during this project was to extend and build upon the cityscape seen in the background. Originally shot in Madrid, Spain, the director called for a more cosmopolitan look/feel for the city, which was achieved for a sequence of shots (for all the ad-versions), using modular matte painting elements. I also did tracking, roto, plate-cleanup and final comp. The following is the 30 sec. version of the final ad. Enjoy.
I took the opportunity to do some pro bono work for a good cause in collaboration with Acne Production and Forsman & Bodenfors for Unicef. One of the major tasks was depicting a fictional city of Bethlehem as an establishing shot in the commercial named "Three Wise Men", directed by Tomas Skoging and Torbjörn Martin. The goal was to construct a busy, crowded-looking shot of a city as if seen through a long lens. I was on location for a few days with the rest of the crew in Ouarzazate, Morocco. The main shoot took place at the grand Atlas Studios while I was collecting material around Ait Benhaddou and other parts of the desert in preparation for my work. It was an incredible and very rewarding experience. Below is a still frame from the animated matte painting.
Here is a quick little breakdown for this shot. (Colors are a bit off due to the .h264 compression.)
The 45 sec commercial (Compressed)
Standing in front of Ait Benhaddou. The blue scarf was given to me as a gift by our 1st AD, Karim Nabil. The hand dyed Tuareg veils are the hallmark of the Blue Men of the desert. For more photos from my trip to Morocco go here.
The very first project I worked on once I returned back home to Stockholm and joined the Swiss-team was The Hypnotist, Swedens contribution to the academy awards this year, and the first swedish film in 25 years by the acclaimed director Lasse Hallström. I got the opportunity to once again work closely with the cinematographer Mattias Montero which was a big thrill. My main work on the show was to develop the look for one of the major hypnosis-sequences, where the the character had to be placed into a fictional dream-like environment, inspired by and developed as an homage to the classical painting "Christina's World" by Andrew Wyeth. The landscape itself features important story-landmarks which are established earlier in the movie but in much different landscape. Other work included developing an underwater shot of the stranded bus just before it falls through the ice. Below are a few breakdowns of some shots out of the sequences I mentioned.
This piece is ca 2 years old. It was part of a personal technical modeling/shading exercise to recreate the famous Neuschwanstein Castle. The castle was modeled in 3D Studio Max and rendered with Brazil r/s. Wireframe
SIMILO is a science fiction love story set in the year 2064. The polar ice caps have melted. The world struggles to survive drought and poverty. But those few who live in the new cities in the arctic can live a happy life. At least, that´s what they want to believe.
Similo is an indipendent short film, directed by Miguel de Olaso. Go here for more info on the project. Miguel approached me with a request for a few matte paintings which Ive been working on in my spare time. Below is a full CG digimatte shot of the city, set somewhere in the near future. More to come.
Avengers was the last project I worked on before I chose to leave ILM. Most of midtown New York was recreated digitally by the digimatte department. It was a huge project in terms of logistics, complexity and number of shots that needed to get done. In the end i believe i worked on ca. 60 shots in one way or another. Below is a mosaic of most of them.
The making of New York
Here are some snapshots from one of the biggest and most challenging shots I worked on. The entire background is a 2.5D digimatte environment mixed with lit and shaded 3D assets. Additional damage was added to the fg-building by my colleague Chin Chee Cheah.
I've been busy working on the third Transformers movie Dark of The Moon, directed by Michael Bay. Here is the official trailer. One of my shots (part of the shot) made the trailer (the one in the splashscreen in the video below).
The breakdown for one of my shots which Im referring to above is featured in the following videoclip by fxguide. I did the concept/3d digimatte of the destruction for this shot, working closely with Abishek Nair who did the final composite, bringing all the shot-elements together. A big shout out goes to the lighting-team for their rendering of the 3D-assets, to the lookdev-artists who worked on the assets, the fx-team for their work on the vehicle destruction, fire and smoke-sims...and last but definitely not the least, the layout-crew for tremendeous matchmoving work.
The following is one of the matte paintings I created for the Ilta-Sanomat spot. The art direction called for a Victorian-type industrial building. A 3D model of the scene was modeled, shaded and lit. This material was used as a base for the matte painting. The 3D model also served as a guide for the green-screen shoot in order to extract correct camera angles. The greenscreen shoot itself resulted in filmed "workers" which were later composited over the matte painting. Moving machine parts were rendered as separate passes and inserted into their respective positions at the compositing stage. This saved time as we only rendered animated parts and did not need to calculate the heavy 3D scene for each and every frame throughout the animation.
This is a recently completed project for Radiotjänsten, which is part of the swedish public service with the task of collecting TV Licence fees nationwide and verifying payment of them. This was a full on campaign intended for showcasing on the internet, tv and cinemas around the country. Stopp offered full service assistance throughout all media-departments. The interactive movie, featured on the campaign website offers the visitor the chance to upload their own pictures and have them automaticly inserted into the movie content. So far the movie is a success generating over 5 milion unique views in just about 3 weeks time. My work included helping director Max Vitali to extend his plates with help of matte paintings. The movie was shot on Canon 5D Mark II by several small crews around the world and proved itself to be a challenge at the compositing/tracking fase due to the shearing and compression of the material. The following images are just some of the matte paintings i created for this show.