For most film buffs, movie\u00a0posters\u00a0are a treat – a glimpse into\u00a0what’s to come. The poster is typically the first\u00a0form of\u00a0marketing for a\u00a0film, as it\u00a0is often\u00a0generated before the principle photography has finished or even started. Poster artists\u00a0many times have to generate the look of the film from assets culled\u00a0together in the pre-production process.<\/p>\n
One of these artists is Tomasz Opasinski<\/a>. He has had a solid career over the last 15 years, developing over 450 commercial posters and art for the film industry during that time.<\/p>\n During Siggraph 2014<\/strong><\/a>, he gave\u00a0a Cinema 4D presentation\u00a0covering his\u00a0process for crafting the posters for\u00a0Oblivion<\/a>\u00a0<\/strong><\/em>(2013), as well as\u00a0Resident Evil: Extinction<\/strong><\/em><\/a>\u00a0<\/strong>and the video games\u00a0Batman: Arkham Asylum<\/strong><\/em><\/a>\u00a0<\/strong>and\u00a0Rage<\/strong><\/em><\/a>.<\/p>\n Looking at these posters it would be logical to assume Tomasz spends most of his time in Photoshop, but his workflow surprised me. In many\u00a0cases he\u00a0will generate quick 3D assets in Cinema 4D and then import them into Photoshop for compositing work.<\/p>\n