My favorite thing to work on was the Sword structure, in which I used arrays and curve modifiers to create a rotating structure effect. For the plane, I took inspiration from the WWII German Biplane. The woman was based on actress Gal Gadot – sculpted in Zbrush and refined in Blender. Here are several of my more notable models that were used in various scenes. Patty Jenkins (Wonder Woman’s director) thought that many scenes in our sequence were too warlike and wanted some uplifting moments, so I 3D projected this view of Themyscira (home to Wonder Woman and the Amazons) based on a painted version created by my boss, Jason Doherty. I did too many random things to count, but these are screenshots of notable parts: The largest project I’ve worked on at Greenhaus so far is the Wonder Woman’s end title sequence. It offers a big advantage in eliminating guesswork and time wasted when jumping between different programs.
The software is so comprehensive that it lets me picture the final product from a wide viewpoint. I started using Blender about ten years ago and still implement it in my workflow for modeling, simulation, texturing, sculpting, and various other general tasks. As he stepped into the industry and picked up other creative tools, Joseph found that Blender often gave him an edge in terms of workflow. Joseph Conover is a 3D artist at Greenhaus GFX, where he created graphics for several high profile film credit sequences such as Wonder Woman, xXx: Return of Xander Cage, Guardians of the Galaxy Vol.
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