One of my contribution to the film was working with director Rupert Sanders and costume designers Kurt and Bart on look and feel of robotic geishas. The initial designs were then refined and polished by amazing team at WETA.
I had a chance to also work directly with Costume Designers Kurt and Bart. Here are several tactical outfit designs. I've also helped to design the look of thermoptics suit, the way lines were cut and layered as well as how the suit would go into camouflage. WETA did an amazing job translating these ideas into more refined and final product.
Designing the bike was one of the most fun part of working on this film. I had an opportunity to explore different looks of the bike together with talented designer Ash Thorp. Final look ended up being a compromise of design and practicality of production and budgets.
Cyborg designs ended up making only minimal part in the film. You can see few HANKA robots as background of few scenes in film. Nontheless, designing these with director Rupert Sanders was quite an experience.
Designing Batou's car was challenging for several reasons. For production purpose, it needed to be based on existing vehicle that could be rebuilt to bring it as close to director's vision as possible. I worked together with Production Designer Jan Roelfs and Supervising Art Director Richard Johnson, to rebuild and redesign the base of Lotus Esprit car and bring it to the world of Ghost in the Shell.
Apart from Batou's card design, I also contributed in creation of other vehicles in the film. These illustrations were then taken by talented crew at WETA and translated to final look of film's vehicles.
Jeepney as well as APC vehicles were quite unique to work on. Original design was created inside of Fusion 360 in CAD format. Production have used 3D files to print and create panels and parts of final vehicle.
It was quite a surprise to learn that one of the locations in the film that I've helped designing ended up being named 'Maciej Hotel'. It turns out I was honored with my own little digital cameo as a 'thank you' from production team and director Rupert Sanders himself.
Much like in Mamoru Oshii 1995 anime, main reference for Ghost in the Shell film was Hong Kong. One of my early tasks was to take on the look of the city that later was fully developed by designer Ash Thorp and talented team over at WETA Workshop. Towards the end of production, I helped refining the look of street and some of the street people.
Illustrations that helped building final tank battle set - circular causeway, ancient tree and pagoda.
One of the most fascinating part of working on Ghost in the Shell was to design the look of weapons. All of presented designs were built in 3D with use of CAD software and then printed directly from cleaned up files I provided to production and WETA team. WETA did an amazing job translating and further developing those designs as well as coming up with other iconic looking weapons.
This weapon is used in several scenes of the film. Much like with any other weapons I designed for the film, this was created inside 3D CAD software.
Probably the biggest chunk of work done for the film was designing props, interiors and exterior of HANKA Robotics. On numerous occasions I would work together with co-lead concept artist Vitaly Bulgarov whom aesthetics of robotic designs were one of main sources of reference.
For Hanka building we decided to influence the design with existing archutecture and location adapted with quick overpaint for the film needs.
Early development renders of Section 9 interiors. Overall look was changed over time and fully developed by WETA.
In 2016, together with designer Ash Thorp, we've pitched several poster concepts for Ghost in the Shell ad campaign. These designs we're quick concepts in which we tried to capture filmmakers vision of the film. Although our work did not end up on billboards or banners, it was still quite fun experience.