3D 2B

Project Overview

3D-2B started as a themed collab project at SCAD, pulling together 8 artists split across 3D and 2D. A setup that pretty much guaranteed some friendly rivalry before a single frame was made. Instead of fighting that tension, we decided to make it the whole point of the film.

The Story

At its core, it's a sibling fight. A brother and sister, each an artist in their own medium, each convinced their art form is the superior one. It's the kind of rivalry that feels inevitable between siblings, just turned up a notch because their weapon of choice is their craft.

The film leans into that as pure visual comedy: hand-drawn characters and paper cutouts squaring off against FBXs and OBJs, each side trying to out-do the other. There are anime nods, a wink at the classic Blender donut tutorial, and even a simple ball-bounce animation that escalates into a full pile of objects collapsing by the end. Every gag built so both 2D and 3D artists would get the joke from their own side of the fence.

The Making Of

Before production even started, I worked with Gonzalo on concept and story breakdown. Building a stylized world and hunting for visual puns that would land for both the 2D and 3D crowd equally. That early stage was really about finding jokes that worked as a shared language between two mediums that don't normally talk to each other.

Once we moved into production, I led the 3D side technically. Character design, retopology, rigging, and mesh control for the main characters. From there, I also built the rigs for the robot character and the supporting props, making sure everything held up through the more chaotic, fast-paced animation the film needed.

Everything came together in the final stretch in After Effects, where the whole team — 2D and 3D alike, sat in the same room to edit and stylize the animation as one piece, blending both worlds into a single, consistent comedic tone.

Final Outcome

3D-2B turned an 8-person, two-medium collab into a strength instead of a limitation, the rivalry baked into the crew became the joke on screen. It also pushed me further into the technical side of character pipelines: taking a design from concept through rigging to something that could survive being thrown into a fast, gag-driven edit.