On Coco, the 2017 Academy Award Winner for Best Animated Feature Film, I had the opportunity to carry out the Look Development of two sequences in full and an array of work in other sequences and the teaser Dante’s Lunch.
The first full sequence I developed on Coco was Shanty Town. This encompassed the entirety of the town itself with all of its dressings, as well as the interior of Chicharron’s Shack and his hundreds of possessions.
I developed several procedural global materials, the main one being wood, in order to efficiently address the sequence as a whole. Each global material had extensive reuseability, as any number of attributes from within the original shading graph could be targeted and utilized through child materials, variants, and overrides. The entire town was also built to interact with the water level - a detail barely distinguishable in the film but something I’m quite fond of. Imagine the flexibility of a Substance Designer material, but in Katana. Fun stuff. The wood could be incrementally weathered, colors dynamically switched around, artistic notes addressed quickly, etc., all with no texturing aside from baking masks in Paint3D.
No detail was overlooked in Chicharron’s shack. Materials were recycled when possible through my budding collection of starter-macros, but each prop was attended to and treated with care. All procedurally done in Katana
The second sequence in which I was responsible for Look Development was Cenote. It was another fully procedural environment that had to hold up for establishing as well as hero shots.