DESTINY 2 Character, Environments and Props

Savathun before she was granted the light.

My task was upressing the ingame model's high poly sculpt, and transforming it to the Pre-light stage.

I had to do retopologize and add aditional detail to the full model.

Some areas had to be redesigned so I had some fun with that.

During the sequence the character has a very touching performance, since she is dying. However the design was just as skull face with no capability to express herself beyond moving her mouth. I wanted to fix this without changing the design.

Even if this wasn't my task, I felt the character needed to be able to have an impactfull performance, so I created this concept animations to sell the idea of different ways she could emote. Since she is dying, I also focused on how we could show breath.

Screenshot of the cinematic.

My task was taking the videogame asset and upressing it to a cinematic level. The asset was visible from very far so not a lot of detail was needed.

Here we can see how the actual model looked.

The texturing was don using a procedural material in Houdini created by Sergio Caires. This was the first asset to ever use the material in the cinematic and it was very succesful.

Here I wanted to match a lighting scenario closer to the final cinematic.

The Cabal Ship has a small platform on top, that is where the final battle takes place.

I had to upress this platform as well, with more detailing in the areas closer to where the camera would be.

The color scheme changed to red quite late in development but thanks to the procedural material by Sergio Caires this was not a problem.

Screenshot of the cinematic.

I also was tasked to model the traveler cage. Since it had so much detail we split the model in parts and it was assembled directly on scene.

Screenshot of the cinematic. In the end the camera shots changed so we barely see the traveler cage I modeler, only on this render.

I briefly worked in a cinematic featuring the Vestian Dinasty gun, I only worked on the shading for this one.

I was responsible for upressing and texturing the Vex Minotaur (on the right). The Vex Goblin was done by my brother Julen Urrutia.

During my years at Axis Studios Group I have worked on many Destiny 2 cinematics, for the main game and its DLCs.
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-Destiny 2: my first task ever at Axis Studios Group was to do the environment in which the final battle of the game occurs. I recieved in game environment proxies and I remodeled it carefuly replicating the texture work into real hard surface modeling. I did the same for the Cabal Ship and the Traveler Cage. Then the procedural material at Axis, done in Houdini by Sergio Caires, was used to texture the full environment.
-Destiny 2 Expansion- Curse of Osiris: In this cinematic I was responsible for upressing and texturing the Vex Minotaur, one of the enemies from the game.
-Destiny 2 Expansion- Forsaken: I briefly worked on this one shading the gun Vestian Dinasty.
-Destiny 2 Expansion- The Witch Queen: I was lucky enough to work on Savathun, one of the most important characters in Destiny 2 lore. I recieved the high polu of the ingame model and I had to tweak the design to show a stage when she still was not granted the light. I had to retopologize everything and add detail for a cinematic level.
As the sequence was about her performing a dramatic scene, where she begs and dies, I was worried that the design with a skull head would not be able to translate any of that suffering to the audience. I did some concepts and modified the design very slightly to be able to move around pieces in order to better express her suffering and better perform a dialog and a feeling of lipsync. I also wanted to show how the body shells moved as she breathed and coughed, so I also did some animation concept on that. It was a huge amount of work but I am very proud of what I achieved.